You can watch here the documentary “Italian Punk Hardcore 1980-1989: The movie”

Italian Punk Hardcore 1980-1989: The movie” is a 2015 documentary directed by Angelo Bitonto, Giorgio S. Senesi and Roberto Sivilia.

Featuring – 5° Braccio, Bedboys, Bloody Riot, Blue Vomit, Chain Reaction, Cheetah Chrome Motherfuckers, Chelsea Hotel, Contr-Azione, Crash Box, Declino, Dioxina, Espansione Urbana, Fall Out*, Hydra, I Refuse It!, Impact, Indigesti, Infezione, Irha, Kina, Kollettivo, Lager, Loggia P2, Nabat, Negazione, Peggio Punx, Putrid Fever, R.A.F. Punk, Rappresaglia, Raw Power, Reig, Rough , Stato Di Polizia, Stigma, Stigmathe, Stinky Rats, Tanx, Tiratura Limitata, Toxical, Traumatic, UDS , Uart Punk, Underage, Upset Noise, Wardogs, Warfare?, Wretched

Click CC for English Subtitles!

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Posted by on April 8, 2020 in Documentaries, punk rock


Cleopatra to release new Adoration Destroyed single

Adoration Destroyed exploded out of Austin, Texas with their critically acclaimed debut album “Ritual Damage” on Cleopatra Records in 2016.

AD’s “Ritual Deconstruction” EP followed in in 2017 as did extensive touring with the likes of Kanga, Ego Likeness and FIRES.

Now, Adoration Destroyed are releasing their long-awaited new single “You Should See Me in a Crown,” a surprising take on Billie Eilish‘s smash hit that also features a pair of new dark delights with “Blackout Again” and “Tonight.”

Cleopatra will release the single on April 23rd through all digital and streaming formats.

Adoration Destroyed is led by singing guitarist Erik Gustafson, who also writes, programs and produces, while moonlighting as a touring member of Grendel.

Adoration Destroyed performs live as a trio that features Ritchard F. Napierkowski on synths and percussionist Patrick Fears that has included a number of recent festival appearances including Mechanismus, Darkside of the Con and The Sanctuary Festival.

Available for pre-order HERE

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Posted by on April 8, 2020 in Electronic


You can watch here the documentary “Punk in Africa”

Today’s documentary is the story of the multiracial punk movement within the recent political and social upheavals experienced in three Southern African countries: South Africa, Mozambique and Zimbabwe.

Directed by Keith Jones (he directed in 2016 the documentary “Vinyl Generation”) and Deon Maas.


You can watch here the documentary about Klaus Nomi, “The Nomi Song”

I discovered today a link for “The Nomi Song” the only Klaus Nomi documentary available out there.


The documentary is directed by Andrew Horn.

Andrew Horn was born on September 16, 1952. He is known for his work on The Nomi Song (2004), Doomed Love (1984) and We Are Twisted Fucking Sister! (2014). He died on August 24, 2019 in Berlin, Germany.

Among the people that speak about Klaus Nomi is American singer, songwriter, musician, poet and artist Kristian Hoffman from NY, member of Mumps, The Swinging Madisons and Bleaker Street Incident bands that were active in late ’70s and through the ’80s.

Also Ann Magnuson, a performance artist and one-half of the founding members of the former psychedelic rock group Bongwater. The characters she has played before-the-camera include, David Bowie’s victim in the vampire film in “The Hunger” (1983), a cigarette girl in Susan Seidelman‘s independent film “Desperately Seeking Susan” (1985), Mel Gibson‘s greedy, money-driven ex-wife in “Tequila Sunrise”, a madam in “Tank Girl” and a real-estate agent in “Panic Room” (2002).

Storyline taken from IMDB – Written by George Darley

Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin’s Deutsche Opera, he would serenade the staff after the ‘real’ performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late ’70’s East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, first launching himself upon an unsuspecting public at the New Wave Vaudeville in 1978. The hip and cynical young audience was stunned by this weird combination of falsetto arias, booming classical orchestration, Kraftwerk-style electronica, futuristic costumes and outer space imagery. An odd assortment of artists, choreographers, designers, songwriters and musicians jumped on to the Nomi bandwagon and the phenomenon began to take off – first attracting thousands to South Manhattan events (including performances at the legendary Max’s Kansas City) and culminating in a recording contract with the French division of RCA. With the release ‘Klaus Nomi’ in 1981 and ‘Simple Man’ in 1982, it looked as if Nomi was on the verge of superstardom. Having established himself in Europe, he made a triumphant return to New York City. But Nomi’s moment of glory proved to be his swansong. Within only a few months Nomi had succumbed to the ravages of AIDS. One of the first celebrities to be killed by this mysterious new disease, Nomi died a lonely death, largely abandoned by those who had seen him as a passport to their own success. Today, the otherworldliness of ‘The Cold Song’ and ‘Dido’s Lament’ is like an ethereal voice calling from beyond the grave.

Enjoy the documentary here


Victor DeLorenzo – Tranceaphone EP (bFrecording, 19 March 2020)

Founding member of folk/punk icons Violent Femmes and artist extraordinaire Victor DeLorenzo presents his new Tranceaphone’ EP, a five-track offering full of intriguing fusion and fun. This is the first recording under his name Victor DeLorenzo since 2013 and his sixth release overall.

Best-known as drummer for Violent Femmes throughout the 1980s, DeLorenzo came into his own in the mid-’90s with a solo career. In the course of his career, DeLorenzo has also had the pleasure of being an actor, writer, audio engineer and producer. His acting career got an incredible launch when he replaced Willem Dafoe in the Milwaukee-based theater company Theatre X, when Willem left for stage and film brilliance in NYC and beyond.

DeLorenzo is also one-half of the chamber rock duo Nineteen Thirteen with cellist Janet Schiff, and was previously the drummer in Moe Tucker‘s band, which also included former Velvet Underground bandmate Sterling Morrison in the mid to late 90s.

“I wanted to write a collection of music that suggests a story, but doesn’t really lay anything out in a concrete way. A mystery of omission featuring a folk/art instrument as a good luck charm. Whatever happens to the maybe woman and man in this story is anybody’s guess, but the cadence of the lyrics against the musical thought intrigues me. It’s like listening to a film noir feature if pictures could sing,” says Victor DeLorenzo.

“The ‘Tranceaphone’ EP is lovingly based on the idea of multiple layers of drum choirs that sing out not only in time, but with joyfully implied melodies that bob and weave. After recording different drum systems, I then wrote music that could breathe within the improvised drum set structures. The bass parts are very important to the drum sounds on this Ep in the way the bass and drum parts help to create a sonic mystery of sorts for the vocals to hide in.”

DeLorenzo’s signature sound is a result of his minimalist drum set. He often uses nothing more than a snare drum, a tranceaphone and steel brushes. The tranceaphone consists of a metal bushel basket inverted over a tom. He favors this style of drum set because in their early days, The Femmes often played on the streets.

Originally from Racine, Wisconsin, DeLorenzo moved to Milwaukee after high school. An actor from the age of five and drummer from 16, he paired up with bassist Brian Ritchie in 1980 as a rhythm section they called ‘Violent Femmes’ and were eventually joined by singer, guitarist and songwriter Gordon Gano in 1981. DeLorenzo’s father loaned the band $10,000 to record their eponymous debut album in 1982, an album that was delayed until 1983 upon signing to Slash Records.

DeLorenzo continued to record and tour with the Femmes until 1993, when he left to devote more time to acting and to recording his own music. In 2000, he teamed up with Ritchie to put together a Femmes compilation, and subsequently rejoined the band until disbanding again in 2009. In March 2013, Gano, Ritchie and DeLorenzo reformed Violent Femmes once more and played a homecoming show at the Summerfest music festival in their native Milwaukee.

‘Tranceaphone’ was released on March 19 and is available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

Produced by Victor DeLorenzo
Recorded and Mixed by Victor DeLorenzo at The Past Office
Mastered by Justin Perkins at Mystery Room Mastering
Victor/Tranceaphone drawing by Carri Skoczek
Back Cover Photo by Michael Hoffmann
This is a bFrecording
c&p 2020 defendimusics bmi
‘Tranceaphone’ : Victor – Tranceaphone, Gretsch snare drum, Cymbal, Bass, Vocal; Mike Hoffmann – Electric Guitars, Vocal; Janet Schiff – Synth Strings
‘Lullaby’ : Victor – Vocal, Keyboards, Drumsets, Percussion; Janet – Cello, Keyboards, Bass; Mike – Electric Guitar
‘Invisible Shadows’ : Victor – Vocals, Bass, Keyboards, Drumsets, Percussion; Janet – Keyboards
‘Then Don’t Say A Word’ : Victor – Drumsets, Vocals, Keyboards; Janet – Bass, Synth Vocals, Keyboards
‘When She’s There’ : Victor – Vocals, Drumsets, Percussion, Keyboards; Monia – Vocal; Matt Meixner – Keyboards; Janet – Bass

Keep up with Victor DeLorenzo
Website | Twitter | Soundcloud | Instagram | Spotify | Apple Music | Booking | Press contact

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Posted by on April 5, 2020 in Rock


The Mystery Plan – Zsa Zsa (Ten Millimeter Omega Recordings 3 April 2020)

The Mystery Plan has released their single ‘Ballad of JC Quinn’ with accompanying video filmed by Jason Herring and edited by Jay Thomas. This beautifully foreshadows their fifth album ‘Zsa Zsa’, which will be released in early April via boutique label Ten Millimeter Omega Recordings.

Ahead of this, they presented the lead single following up their recently-released infectious Massive Attack-esque single Al Gore Rhythms’.

Produced by the legendary John Fryer and Jason Herring, this record also features such notable guests as Micah Gaugh (The Veldt / Apollo Heights), Ian Masters, That Guy Smitty and Snap Nation. This is not the first time The Mystery Plan has worked with Fryer, having previously collaborated on their fourth full-length release ‘Queensland Ballroom’, released in late 2017, and the ‘Electric Love’ single.

Based in Charlotte, NC, the band is comprised of Jason Herring, Amy Herring, Jeff Chester, Otis Hughes and Patty McLaughlin. Since forming in 2010, they’ve managed to release 10 EPs and LPs combined.

JC Quinn was an actor from NYC with many film and television credits, including “Barfly”, “the Abyss”, “Visionquest” and countless others. He moved to Charlotte in the late 1990s to be closer to his grandchildren. We met at a downtown watering hole called Cafe 521, owned and operated by his good friend from New York, Peter Herrero. That’s where I met JC, along with many other actors, such as Leonardo DiCaprio, Bernadette Peters, etc.. They would always stop at the café when in town to visit their good friend Peter,” says Jason Herring.

“JC and I struck up a nice friendship. He was a fan of ours and would come to shows and stand right up front so we could see him. A very lovely man indeed. Sadly, JC died in Mexico while shooting a film a few years ago. I’ve always wanted to pay tribute to him, and we have finally done so with this song. The lyrics are a blend of what we would do with him now if he were still here, and iconic lines from some of his films.”

‘Zsa Zsa’ was recorded at Catalyst Recording and various local studios over a 2+ year stretch following a number of Southeast U.S. tours in promotion of the band’s ‘Queensland Ballroom’ album. This new record touches of several different styles – everything from deep mellow shoegaze and folky ambient to upbeat dancable trip-hop and electronica.

‘Zsa Zsa’ finds the quintet moving further afield of its earlier psych-folk leaning to land on something more akin to the down-tempo approach of Portishead and Zero 7, mixed with early 4AD action. That later is in no small part due to the return of band collaborator, producer John Fryer (too many A-list credits to list here), and new Mystery Plan friend Ian    Masters, former bassist-vocalist of influential British shoegazers Pale Saints.

As of March 6, ‘Ballad of JC Quinn’ is available digitally across streaming platforms, including Spotify. The full ‘Zsa Za’ album will be released on April 3, both on CD and digitally. It can be ordered directly from the band via Bandcamp.

Written by Jason Herring and Amy Herring
Produced and mixed by Jason Herring and Rob Tavaglione at Catalyst Recording, Charlotte.
Vocals by Amy Herring and Patty McLaughlin
Bass by Otis Hughes
Drums/percussion by Jefferson Chester
Guitars/keyboards/programming by Jason Herring
Lap-steel guitars by Peter McCranie
Cover art by Clear Design
Band photography by Daniel Coston

1.  Those Stars
2.  We All Get Down
3.  Al Gore Rhythms
4.  Ballad of JC Quinn
5.  Lolaphone
6.  Bonny
7.  Long Way To Heaven
8.  Sweet Tart
9.  Electric Love
10 We All Get Down (Rob Tavaglione mix)
11 Distant Sirens

Keep up with The Mystery Plan
Facebook | Label FB | Twitter | Soundcloud | Spotify | YouTube | Reverbnation | Press contact

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Posted by on April 2, 2020 in Alternative


Martin Bisi – Let It Fall (Bronson Recordings, 3 April 2020)

NYC legendary producer Martin Bisi presents the ‘Let It Fall’ single from ‘Solstice’, his first solo record in five years. His sixth full-length album, this is also his ninth release overall.

A renowned producer, sound engineer and musician, Bisi has been a central figure in NYC’s musical history for the past four decades. Founding BC Studio in Brooklyn in 1981 with the help of Brian Eno and Bill Laswell, Bisi recorded groundbreaking music here by these artists, as well as Sonic Youth, Swans, John Zorn, Herbie Hancock, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop, Human Impact, JG Thirlwell, US Maple, White HillsFab Five Freddy, and countless others.

Bisi has made his mark on an impressive collection of crucial albums, from hip-hop to noise-rock and beyond. An underground luminary in his own right, Bisi has also been recording and releasing music of his own since 1988. Noisey says “Bisi has presided over recordings that defined seminal scenes, counting downtown NYC’s avant-garde jazz scene, ’80s art-rock and ’90s Bowery scum-rock. A glance at his stunning, across-the-genre-board discography results in minds blown”.

Ultimately, his role as producer has shaped him as a musician. “I draw influence in large measure from what comes through the studio. It’s like a giant sieve of this NYC stuff. I don’t advertise, so I record people who are drawn to me for various reasons. I think engineering/ producing has been an essential part of my path as a musician.”

As far from trends as any of his work, this psychedelic opus through light and dark sees Bisi team up with video director Scott Kiernan of the mobile TV studio E.S.P.TV, famed for his video and sound multimedia installations around NYC.

“I’ve always felt music was a pathway to something primal, not completely knowable, and connected to our essence personally and collectively -an essence connected to all life, and the planet. I wanted to do an album that reflected on our planetary cycles, hence ‘Solstice’ has Winter and Summer solstice sides – each with different energies,” says Martin Bisi.

“With the opening track (and video), I wanted to go to the beginning of human society. ‘Let It Fall’ itself is a call to the cosmos for rain. The song also speaks of seeking control of nature, so i wanted the video to have a futurist look, to bridge our beginnings to an unknown future”.

Mostly born out of improvisation, ‘Solstice’ presents dense layers of sound that combine in cacophonous and electrifying ways. Think early Sonic Youth crossed with Bitches Brew. A stomping post-punk vibe churns beneath a wild array of tones and rhythms – operatic vocals, effects-driven guitars, keyboards, electric viola, drums, and more. Rapturous melodies and anthemic lyrics emerge from the din.

To record this album, Bisi traveled to California, New Jersey and the UK so that he could track in person with his various collaborators. He subsequently assembled and mixed the album in his BC Studio in Brooklyn, which he then presented to Fred Kevorkian (Iggy Pop, Debbie Harry, Peter Murphy) for mastering.

Last year, Bisi also issued the compilation ‘BC35 Volume Two’, the second installment of two to mark the 35-year anniversary of BC Studio, featuring new music from people who have been part of that history, including members of Sonic Youth, Swans, White Hills, JG Thirlwell, Cop Shoot Cop, Live Skull reunion, Pop 1280, The Dresden Dolls and many more. Bisi released a music video for ‘Save Sludgie The Whale Of Gowanus’ from this album.

Earlier, Bisi’s work and studio were the subject of the film ‘Sound & Chaos: The Story Of BC Studio’, squeezed in by the approaching gentrification of his neighborhood, with commentary by Lee Ranaldo (Sonic Youth), Bill Laswell, Michael Gira (Swans), Bob Bert (Sonic Youth), Jim Thirlwell (a.k.a. Foetus) and Brian Viglione (Dresden Dolls), among others.

Martin Bisi’s ‘Solstice’ LP is out now, available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

Martin Bisi – vocals, guitar
Amanda White – soprano vocals
Diego Ferri – baritone guitar
Genevieve Fernworthy – electric viola
Oliver Rivera-Drew – drums
Recorded at The Laundry Rooms, Sheffield UK by Dave Hadley and at BC Studio, Brooklyn by Martin Bisi
Produced and mixed at BC Studio by Martin Bisi
Mastered by Fred Kevorkian

Keep up with Martin Bisi
Website | Facebook | Instagram | Twitter | Spotify | Soundcloud | Apple Music | Booking | Press contact

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Posted by on April 2, 2020 in Alternative