09/01/18 - int041
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28/12/17 - int043
28/12/17 - int044
26/12/17 - int044
26/12/17 - int042



on october 15th, 2017 - interstellar records & werk02 presents the very first time screening, in austria, of the beautiful movie about the label sahel sounds. all this will happens at forum stadtpark, one of our favorite places. next to the movie, there will be a djline of florian kläger (director of a story of sahel sounds) and richie herbst (interstellar), next to a movie talk and a records booth.


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INT043 - BUG

INT 043 | LP | MC
BUG calamitas

release date: october 15th, 2017

The night has its price and I am eager to pay.
Calamitas means loss, disaster, damage, harm, defeat and misfortune.

Calamitas sounds like a brutal blast beat inferno merging into harsh noise rock (Anti),
classic blues guitar harmonies mixed up with black metal-ish yodeling (Arbeitsunwill),
Mariane dig bass lines embracing a true metal heart (Fuck Me Blind),
monolithic walls of white noise collapsing into nihilistic death rock (Happiness Is Hard To Hold),
sludgy, distorted rhythm blended with mathy, metallic guitars (Best Days Of My Life),
desperate songs for the unloved channeling suffocating post punk angst (A knife for every heart).

Calamitas deals with danger babe Ruby, who stole Silvio Berlusconi’s heart,
Satan deceiving us all by using the purgatory doctrine,
dictator Kim Jong Senior (II), the sexiest man alive back in the days,
beautiful femmes fatales with a look that kills,
the man who cut off his own leg to get disablement pension (he didn’t succeed),
personal misery, the best days of my life, the abyss that is staring back, etc.

/a1 anti
/a2 danger babe
/a3 arbeitsunwill
/a4 a knife for every heart
/a5 fuck me blind
/b1 kim jong il
/b2 blutjesudotcom
/b3 the source of light is burning
/b4 best days of our lives
/b5 happiness is hard to hold

oliver altmayr (dr)
andreas deutinger (eb)
markus dolp (voc)
pete hofer (git)

recorded, engineered and mixed by: magi (mathias) magerle
mastering by: brad boatright (audiosiege)
artwork by:
layout by: gerhard moser

artwork [tif]

Ein Geflecht von Würmern ziert das Cover der neuen Platte von Bug. Verzerrte E-Gitarre und E-Bass, treibendes Schlagzeug und screaming vocals, das sind die Grundzutaten der Tiroler Band. Calamitas selbst heißt soviel wie Unheil, Schaden, Verlust. Diese Grundstimmung findet sich auf verschiedenen Ebenen des Albums gut wieder, sei es in den Liedtexten – alle, verfasst von Sänger Markus Dolp, liegen der Platte zum Nachlesen bei – oder in der intensiven Musik der Band, die einen Vergleich mit Unsane nahelegt, waren sie doch mit diesen letztens erst in Österreich unterwegs. Die zehn Nummern, die sich nun auf diesem Album versammeln, dauern höchstens an die vier Minuten. Es passiert aber stets so viel, dass es nicht schaden kann, sich diese immer wieder zu Gemüte zu führen, um ja nichts zu verpassen. Bei Alben der härteren Abteilung ist es ja oft so, dass man einen musikalischen Stil von vorn bis hinten durchzieht, hier auf keinen Fall. Jeder der zehn Songs klingt vom Energetischen her ganz anders und reißt einen immer wieder in neue emotionale Gefilde hinein. Ein dunkles, wachrüttelndes Album. (Freistil kat)

There is such a thing as Austrian noise rock and apparently Bug has been doing it for 20 years. And this is apparently their 8th record. So how about that, huh? I have approximately zippo to go on if this holds up to any of their previous stuff, so I’ll just get to it and dissect this as best I can. Alright, so this group apparently wrote this record as a concept based around an Italian prime minister and all sorts of other tangentially related stuff. I can’t make out what they’re saying, but the vocals are slurred and growling, like they’re at one speed and the music is another, kind of Harvey Milk-ish. Musically it’s all over the map. There’s wide swaths of Unsane-style meaty rock, more experimental and weird pedal-heavy parts reminiscent of USA Nails, some epic math-y sections recalling Breather Resist at their best, and even some areas that dabble in black metal-s speedy onslaught. Like I said, it’s a mixed bag, sometimes within the same song. It’s a bit of a detriment because it causes the band to lose a sense of consistency. However, the overall result is generally enjoyable because it’s a lot of neat things coming together that don’t always meet up. (hanginghex.blogspot.co.at)

No confundir con The Bug, uno de los alias del noisemaker Kevin Martin. Aunque, como aquel, los austriacos Bug exploran las posibilidades de la catarsis en el discurso musical, en su caso a partir de la clásica formación rock compuesta por guitarra, bajo y batería. Y voz, por supuesto. La voz de un Markus Dolp dispuesto a dejarse las cuerdas vocales en cara fraseo, aplicando el libro de estilo del death metal y haciéndolo colisionar con la tradición más extremista del hardcore neoyorquino.
Porque hay mucho de Unsane, The Jesus Lizard, Big Black y de los primeros Today Is the Day en un disco desafiante y abrasivo, aunque más ortodoxo en lo musical de lo que la voz de Dolp nos da a entender. Las nuevas canciones de esta formación clásica del underground continental están compuestas a partir de riffs repetitivos y cortantes, como ese "cuchillo para cada corazón" que da título al cuarto tema del disco. Puñaladas traperas que harán emitir gruñidos de placer a los fans más macarras del sello Touch & Go. Macho-rock en estado puro. (eldiario.es luis j. menéndez)

Die 1997 gegründete Innsbrucker Band BUG hat mit Calamitas ihr inzwischen achtes Album veröffentlicht, Damit öffnen sie eine Tür zu einem Ort, der noch verstörender wirkt als die reale Welt um uns. Ein Ort der Desorientierung, immer ein leichtes Unbehagen im Nacken. Was erwartet hinter der nächsten Ecke? Es gibt keine konventionellen Songstrukturen, dafür ein Strat-Stopp-Stolpern und ein Halluzinieren zwischen laut und leise. Post-Noise-Rock als Soundtrack einer zunehmend konfuser werdenden Welt. Wichtig zum Verständnis des BUG-Universums sind insbesondere die Texte, jene nihilistischen Wortwürmer, die sich auf dem Plattencover in kongenialer grafischen Illustration spiegeln: "All is lost. All hope is gone. His Love has been taken. His dreams have been smashed." (20er dna)

And suddenly, one cold, wet, dark, depressing November night, an album arrives that slaps you round the face, hard, and makes its presence known. And within three songs, you know it’s probably one of the best things you’ve heard all year. And it’s a concept album.
I’d been thinking that 2017 hasn’t been a great year for music, while chewing on the irony of the fact I often berate people making the same complaint for their failure to look in the right places: there is always good – awesome, exciting – new music emerging from somewhere. Admittedly – and this shouldn’t be about me, but I find that reception of music is an intensely personal and individualism – I may not have in the most receptive of moods, or have kept up with as much of the music passed my way this year, but 2017 simply doesn’t feel like one of the greats, despite having a handful of clear highlights. But these highlights are less about objective merit and commercial success, and what’s actually stuck. This, however, is an album with immediate impact. It grabs the listener by the throat in the opening bars. And it doesn’t let up.
According to the liner notes, ‘Calamitas deals with danger babe Ruby, who stole Silvio Berlusconi’s heart, Satan deceiving us all by using the purgatory doctrine, dictator Kim Jong Senior (II), the sexiest man alive back in the days, beautiful femmes fatales with a look that kills, the man who cut off his own leg to get disablement pension (he didn’t succeed), personal misery, the best days of my life, the abyss that is staring back, etc.’ So, it’s a true story, albeit one where the narrative is buried beneath a strain of sinewy guitars and barked vocal delivering impenetrable lyrics. And that’s all good.
‘Calamitas’, we also learn, means ‘loss, disaster, damage, harm, defeat and misfortune’. These things, the album’s ten tracks convey with crystal clarity through the medium of raging, guitar-driven noise. And as much as Calamitas is a snarling, gnarly mess of brutality, it’s gritty, tense, and cut from a different cloth from so much murky metal thrashing.
I’m reminded as much of anything of the swagger of Girls vs Boys on their debut album, Hey Colossus, and Henry Blacker, and there’s a strong flavour reminiscent of Helmet and The Jesus Lizard and the Am Rep / Touch and Go label styles. There’s noodly, Shellac-meets-Tar math-grunge on ‘A Knife for Every Heart’ and ‘Best Days of Our Lives’, which builds a tripwire tension. ‘Fuck me Blind’ is darkly claustrophobic, built around a cyclical riff, sinewy top guitars and ballistic hollering. There’s also a gnarly blues undercurrent to many of the songs here, and for all the messy guitars, the bass is pure thunder and lays down some irresistible grooves over the course of the album’s ten cuts. There’s a dark, gritty vibe and a gloriously ragged edge to it all, and Markus Dolp’s gruff, Cookie Monster vocals have hints of Tom Waits and JG Thirlwell.
Some cuts do venture into all-out hardcore punk / metal attack, like the squalling black mass that is, opener ‘Anti’ but what makes Calamitas such a corking album – beyond the fact that it simply is a corking album – is its range. Yes, it’s all a bloody, brutal, guitar-driven mess of noise, as becomes a band who’ve spent two decades exploring the terrains of noise-rock, but it’s sonically articulate while it rages blindly and incogently. It’s the perfect balance, and the frenetic and the furious drive that defines Calamitas makes for a gloriously intense listen. (auralaggravation.com christopher nosnibor)

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