SLUTS'N - Teddybär EP 1995

In early 1980, three guys and a girl from Braunschweig banded together, deciding to make some noise, marking the birth of Sluts. The original line-up featured Schlampe (vocals), Pelle (guitar), Kat (bass) & Peter (drums). Over the next two years, the band performed frequently in and around Braunschweig and released one great album via AGR, but the end came quickly. Sluts disbanded in 1982. In 1983, Schlampe & Peter joined Aktive Notwehr (coming soon), a band that was being reactivated in Braunschweig at the time. Pelle moved to Heidelberg and reformed Sluts in 1986. To distinguish the group from the original band, an "N" (for "neu"/"new") was added to the name. Since then, the name has been Sluts'n. This second line-up featured Tille (vocals), Ali & Pelle (guitars), Dirk (bass) and Jogi (drums). While the style of the old Sluts leaned more towards classic mid-tempo German Punk, the sound of Sluts'n evolved further, yet retained that characteristic, brash attitude. Several years of line-up changes followed; only Pelle remained a constant presence. Vocalists changed particularly often, though Klaus held the position for many years. Ali left in 1988, and Martin took over on drums. In 1991, Jürgen stepped in on bass, replacing Dirk; the band played as a trio until 1994, with Pelle handling vocals during that period. In 1994, Diesel joined as the vocalist; at just sixteen years old, she was the youngest member of the band. They continued making noise as a quartet for eight years until Jürgen left in 2002. Diesel then took over bass duties as well, and the trio line-up remains in place to this day. Teddybär is their latest release to date; issued on Impact Records in two versions, it marks a stylistic shift away from raw, minimalist '82-style PogoPunk toward a sound that is more melodic yet still aggressive. This EP delivers five highly catchy, dynamic, and hate-filled tracks, complete with humorous, sarcastic broadsides and three-chord structures without sacrificing that signature Punk grit; it is a raw In-Your-Face experience, delivered with significantly more punch and clarity. For fans of classic Nineties German Punk and collectors of rare 7Inch records, this EP is a real find. It captures an exciting transitional phase of the band before things went quiet for them in the years that followed.

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DREAM 6 - s/t 12'' 1983

Today is one of those days that I don't really need, and I don’t want to burden you with details. Everyone knows what happened on August 6th, 86 years ago, but that is merely a footnote, but typical of today. I won’t go into specifics; suffice it to say: death comes when it chooses to come (a really shitty intro), but anyone who knows me knows I’m an emotional Fuckhead, hence this fucking prolog. I presumably also chose the record that follows now. I first heard Dream 6 in a movie called The Party Animal from 1984, an absolute must watch. A classic Eighties film with an excellent Soundtrack and I recommend you watch this beauty; you'll have a lot of FUN! The band was formed in 1982 by Johnette (vocals/bass), Jim (guitars), Michael (drums) within the vibrant Los Angeles scene and they released only this 12'' on Happy Hermit Co. before later changing their name to Concrete Blonde. The driving forces behind the band were Johnette & James an they were both very active on the fringes of the L.A. Punk scene. They initially called themselves the Dreamers (later L.A. Dreamers) and contributed a song to a Compilation (don't know which) in 1982. One year later they booked the legendary Gold Star Studios in Los Angeles and together with Michael, they recorded six awesome songs. Since the final work comprised exactly six tracks, the trio promptly renamed themselves Dream 6. Their musical style ranks between as a blend of PostPunk, Alternative & New Wave. Compared to the later, more polished sound of Concrete Blonde, the music here was significantly rawer and edgier. The sound is driven by a no-frills, propulsive guitar and a dominant bassline. Critics describe the work as a "pretty cool and dark" affair. The lyrics often reflect the melancholy, frustration, and gritty atmosphere of that era. Even in these early recordings, Johnette’s powerful vocal prowess shines through; her voice shifts effortlessly between emotional vulnerability and an aggressive rock roar, a captivating experience. 'Rain' is the absolute standout track (from the soundtrack), and I don't know how many times I rewound and replayed it... and believe me, back then, it wasn't easy to get hold of the record. Get ready for a raw, emotional sound and an uncut gem you’ll want to listen to again and again, featuring one of the most distinctive and emotive vocalists of her generation.

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MOUSER - ¡No Pasarán! EP 2025

I first heard the following band on the Current Affairs Compilation and was immediately captivated by their powerful sound and I’m sure, you’ll like them too. From Delft comes the Punk combo Mouser. The idea for the name came from guitarist Bas. He saw a sketch of a mouse wearing Dr. Hannibal Lecter’s iconic face mask and promptly named the character "Mouser." In English, the word is an official term for cats used to hunt mice, like the famous Chief Mouser to the Cabinet Office at 10 Downing Street. At the same time, it sounds phonetically similar to the well-known Mauser pistol brand. The band features a classic four piece configuration: Léon (vocals/guitar), Bas (guitar), Sander (bass) and Marcel (drums), their first drummer Frank unfortunately died after the first gig from heart failure. They call their music “Old School Punk”. They say they write fast, to the point, catchy, sharp, sometimes very short songs, with uncompromising lyrics which expose our derailed society.

They embodies the true D.I.Y. spirit and in their early years, the band rehearsed in a squat in Delft. After the building was cleared by authorities, they found a new home at SPOD, a well-known alternative music and cultural center in Delft that provides rehearsal spaces for local underground bands. For their recordings, the band headed in April 2025 to the renowned Studio 195 in the Netherlands, a facility with a legendary reputation in the European Punk & Hardcore scene for its raw, analog sound. Mouser recorded there during two major sessions: January 2024 (recording six songs) and August 2025 (recording five additional songs). The debut EP was released by their own and features four punchy, fast, old-school tracks. They say they write fast, to the point, catchy, sharp, sometimes very short songs, with uncompromising lyrics which expose our derailed society.

Final words: Mouser waste no time on their EP; ¡No Pasarán! is a fast-paced, gritty punch to the gut that breathes the raw energy of 80s HardcorePunk. Unpolished and boundlessly energetic. A quick look at the tracks: the title track is an angry, anti-fascist anthem featuring razor sharp riffs, a perfect opener that instantly invites to Pogo. "Smartphone Zombie" is a biting, tongue-in-cheek takedown of modern digital isolation; "Shadows Over Disneyland" is a darkly sarcastic number that tears down the facade of the slick consumerist world; and finally, "Hail Hail Hail!" shines with a furious finale that floors the gas pedal, bringing the EP to a furious close after barely eight minutes. Mouser deliver exactly what the label promises: fresh fast, high octane Punkrock that demands repeated listening.

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THE SIMONS - Stink With Pleasure EP 1992

After a long hiatus, I'm back, and the first post I’m doing today is fulfilling a request. Let's get know the Simons, a band whom surely no one know unless you lived in their region. The Simons came from Sindelfingen and this four piece consisted of Bob (vocals), Mirco (guitars), Olli (bass), Carsten (drums) and they were active in the Nineties and relaesed two EP's and a Cassette. Due to their niche status at the time, there are few documented details about the band, but the key facts can be reconstructed from their releases: "Stink With Pleasure" is their debut EP, released via Bellaforte Records with five solid dirty numbers. The band adhered closely to the traditional Punk sound: three chords, high speed, and maximum energy. It was evident that they were not concerned with highly complex musical structures or technical perfection, but rather with directly conveying the raw joy of playing. The EP was aptly summarized at the time via the Punk fanzine Trust: the band underscored its motto, "Stink With Pleasure," with "tried-and-tested Punkrock," and one could simply hear that they "enjoyed playing." Raw, gritty guitar sound which were heavily distorted, sounding tinny and unpolished. Minimalist drumming, the rhythm section drove the songs forward uncompromisingly, free of unnecessary flourishes or breaks. The vocals were brash, direct, and often characterized by a palpable "We Don't Give A Damn" attitude, far removed from slick, professional studio productions. Instead of melancholic, crushing riffs, they played fast, humorous music designed for partying. This is also evident in titles like their later demo release Punkrock Party, which underscores the carefree, party-loving nature of their style. In short, they can be described as "snot-nosed" Punk with a feel-good factor, music that eschewed political preaching in favor of capturing the raw energy of small, sweaty club shows on vinyl. They can boast a surprisingly large number of invitations to appear on Compilations, which shows that they were in demand. So if anyone has their second record, please come in touch. Enjoy!

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84 FLESH - Salted City 7'' 1978

Let’s wrap up June with raw, gritty, and uncompromising Punkrock and unfortunately only two are immortalized on this little jewel. The protagonists from Paris was originally formed under the name 1984 and consisted of Henri (vocals), Michel & Pierre (guitars), Luis (bass), Frederik (drums) and later changed it to 84 Flesh. They were part of the first wave of French Punkrock in the late Seventies. Despite a very brief existence of barely a year, their only 7Inch was released via Skydog and is highly sought after by collectors nowadays. Both songs are featured on relevant Compilations, which shows how great the tracks are... an honorable gesture. After a quick break-up, the musicians regrouped as Suicide Roméo which leans more towards New Wave. An excellent record or a defining, ultra-short bolt of lightning.

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PQ ROCKERS - The Lost Generation EP 1985

The PQ Rockers, Filip (vocals/guitars), Häck (bass), Magnus (drums), were a trio from Varberg on the west coast. Known for their raw sound, they recorded their only EP in the mid Eighties at the studios of the legendary Punk band Asta Kask and was released via Street Rock'n'Roll Records. Four solid songs, aggressive and anthemic vocals, raw, gritty guitar work with strong solos, and driving bass and drums. Since the songs are sung in Swedish, the music makes its impact primarily through melody and energy. The whole package is a real pleasure. On the back cover, the band cheekily thanks their manager Lasse McLaren and jokingly announces a fictional single titled "Kalle Kanin," which has not yet been released. I rather doubt that the 7Inch is a sought after collector's item nowadays, aside from a contribution to a tape Compilation, the band didn't really make any further mark, but for fans of the Scandinavian 80s sound, it is certainly a fitting choice.

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V/A - Liga Dos Últimos EP 2012

This beautiful dittie features four energetic tracks by four Portuguese combos. The release serves as a tribute to the raw spirit of football and the term "Liga Dos Últimos" is widely recognized in Portugal for celebrating the humorous, grassroots, and passionate side of football, inspired by the RTP (Rádio e Televisão de Portugal) magazine show that followed lower-tier and amateur local matches. Kick off with Acromaníacos from Bobadela; formed in the mid-nineties, they have released a ton of material to date. Their song "Descontrolado" (Out Of Control) reflects the wild, unfiltered energy often found in the lower tiers of the stadium. #2 is hailing from Lisbon, Facção Opposta celebrate top notch Oi!, known for their aggressive sound and socially critical lyrics; their discography includes several vinyl releases, and the track "Carne Para Canhão", translates to Cannon Fodder, delivering a raw, anthemic critique. The second half begins with Albert Fish (named after an American murderer and cannibal), also from Lisbon and active since 1995 with a substantial back catalog, whose contribution "Hell" stands out to the band's signature of loud guitars, nice tempo and clear vocal style. Just before the final whistle, Canhões De Guerra, who previously lacked a vinyl release, wrap up the match with an explosive killer track titled "O Coiso" (The Thing); there is no extra time here. The title reflects a humorous, laid back tone and perfectly captures the spirit of the mentioned above TV show. All tracks embody a subculture that mirrors the chaotic, passionate, and uncompromisingly independent vibe of local Portuguese amateur football leagues. Hand numbered to 300 copies on purple clear vinyl and fitted with a lovely insert that is well worth seeing. TOP!

1.Descontrolado - ACROMANÍACOS

2.Carne Para Canhão - FACÇÃO OPPOSTA

3.Hell - ALBERT FISH

4.O Coiso - CANHÕES DE GUERRA

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GRAPHIC SHADOWS - She Turns Her Eyes Away EP 1981

Graphic Shadows' first vinyl is an obscure, rare four track EP released on Explicit Records; the quartet consisted of Greg (vocals/keys), Kenny (guitars), Franz (bass), and Marc (drums). They were active in the Washington, D.C. music scene during the early Eighties and also released an album in 1984 before eventually calling it quits. When the band released their record in 1981, the independent music scene in Washington, D.C. was still in its infancy. Although the city would soon become world renowned for its raw Dischord Hardcore sound, this 7Inch presents a fascinating, alternative musical portrait of the region: the transition from edgy GaragePunk to dark New Wave and early goth rock. The EP is a prime example of the DIY ethos, featuring a sound that is highly dynamic, raw, and unpolished. The bass often takes center stage, driving the songs forward, while the guitars utilize heavy chorus and reverb effects, lending the record a cool, atmospheric depth. The vocals are detached, slightly monotonous and melancholic, yet they erupt with furious energy during faster passages. The title track is clear the highlight with its driving, melancholic midtempo gem. It is followed by a fast and aggressive number, which showcases the band's brash attitude; it reveals the group's Punk roots. "SBS" is a more experimental, rhythm driven one that radiates a sense of nervous agitation. The final nugget closes with a dense flair, once again employing walls of noisy guitar. Overall, it is an unpolished diamond in the rough, an absolute must-buy for historians of the D.C. scene, provided one is lucky enough to snag a copy, but for simply listening to, the digital route suffices.

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YOUR FUNERAL - I Want To Be You 7'' 1982

"I Want To Be You" is a rare and seminal PostPunk song by the all female band Your Funeral from Denver and consisted of Jeri Rossi (vocals/guitars), Karen Sheridan (bass/vocals) and Cleo Tilde (percussion) and the track was originally released in 1982 on a limited 7Inch and later gained wider recognition through Compilations such as Sacred Bones Records' Killed By Deathrock Vol.1 and is the band’s only official release. These two songs offer a condensed lesson in atmosphere and sonic claustrophobia; their minimalist aesthetic breaks with almost every convention of the classic, stadium ready rock of the early 80s. Instead of opulence, the absolute minimum reigns supreme. Driven by a stoic, almost mechanical drumbeat, the tracks pulse like the unstoppable heartbeat of a fixation. The bass pumps deep, muffled, and hypnotic in the foreground, providing the melodic structure while the guitar deliberately disrupts it. Jeri’s guitar work defines the texture; eschewing warm chords, she employs cutting, cold, flanger-distorted riffs. The notes sound sharp almost like the scraping of metal lending the songs their unmistakable deathrock edge. Her vocals, too, are far from polished or smooth; they possess a raw, almost lethargic urgency, reminiscent at times of early Lydia Lunch, that peers deep into the abyss of the human psyche. The subject matter is not romantic love, but destructive envy and a total fixation on another person. The desire to slip into someone else’s skin to completely erase one’s own identity in order to become someone else becomes oppressively palpable through the song's repetitive structure. It is a psychological portrait of a loss of control. There is no reverb to artificially inflate the sound, nor are there any smoothing effects; everything sounds dry and direct, creating an atmosphere of extreme intimacy. "I Want To Be You" is a great example of how one need not rely on complex song structures or virtuosic solos to create a musical work of art. Your Funeral required nothing more than a bassline, a cutting riff, and an obsessive idea to craft one of the most atmospheric 7Inches of the entire PostPunk era. There remains the fascinating tragedy of a band that, after just two songs, virtually vanished from the scene. But with this rare beauty, they have immortalized themselves.

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MAGIC SPLATTERS - Blamage EP 1994

I think, this is the debut EP by the Magic Splatters, a Frankfurt based quartet who was active in the Rhine-Main region during the nineties, who back then had a reputation as a notorious, hard partying band. Released on the French label Adrénaline Records, the EP comes in a simple foldout sleeve made of thick cardstock available in five different cover colors; it is hand numbered (500 copies) and includes a small insert and is a classic, lovingly DIY production. The four track EP delivers raw, unvarnished '77 Punk: fast, aggressive melodies and snarly vocals paired with simple, driving three chord riffs. The lyrics are typical of the Frankfurt scene: direct, slightly self-deprecating, and free of politically correct frills. It charges relentlessly forward, leaving no time to catch one’s breath. It is a perfect document of the Nineties Frankfurt underground: unpolished, high energy, and recorded with a wink. It strikes a perfect balance between angry Punk and nice catchy sounds. A cynical reckoning with societal constraints & philistinism. You will love it.

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