update

03/09/18 - mailorder
03/09/18 - shows
03/09/18 - int044
03/09/18 - discovery
20/08/18 - mailorder
17/08/18 - reflector

discovery



Supernova 3 & 4

please preorder via our mailorder. limited to 70 copies, each

[www.interstellarrecords.at/mailorder]

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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.

tracklist:
/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

lineup:
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

downloads:
artwork [tif]

reviews:
Το κουαρτέτο των Αυστριακών Bug συνδυάζει τις μπλουζίστικες κιθάρες με το μπλακ μέταλ και το θορυβώδες ροκ. Έπειτα είναι ο ερμηνευτής τους, Markus Dolp, που εννοεί να ουρλιάζει με την τεχνική του λάρυγγα έτσι ώστε να πνίγει κάθε λέξη που ξεστομίζει στο δράμα και στην οργή. Ούτως, τα δέκα κομμάτια του «Calamitas» παίζονται μέσα σ’ ένα «θέατρο σκληρότητας» ικανό να παρασύρει τον κάθε πρόθυμο ακροατή στις δαιδαλώδεις πτυχές της κατάθλιψης, αν κρίνουμε από τα λόγια των τραγουδιών, «All is lost/ All hope is gone»… Παρ’ όλα αυτά είναι οι χαλαρές δίκην μπαλάντας στιγμές που αναδείχνουν τις δυνατότητες των μουσικών.(www.toperiodiko.gr aντώνης n. Φράγκος)

Europa continental, y no sólo los antiguos países del bloque comu- nista, ha sido tradicionalmente un terreno fecundo para los sonidos extremos, y un perfecto ejemplo es este grupo austriaco, en el que densidad blues punk a lo Jesus Lizard, guitarras metaleras y rit- mos de demolición se conjugan en un magma sonoro catártico. Bug acaban de cumplir veinte años en la carretera, han tocado con la flor y nata del post-hardcore de las catacumbas (Unsane y muchos más) y lo celebran con el que es su octavo disco. Inspirado por las correrías de Berlusconi y el sátrapa norcoreano Kim Jong Il, el cuarteto de Innsbruck se zambu- lle hasta el cuello en las turbias aguas del lado oscuro existencial, combinando inglés y alemán en sus tenebrosas letras. Dominan y modulan su discurso desde la bru- talidad sonora de Anti o Fuck Me Blind al blues infectado de Arbeit- sunwill o Blutjesudotcom. Un viaje al corazón de las tinieblas que al concluir, le deja a uno noqueado y sin aire (Mondo Sonoro josé carlos pena)

Il ritorno degli austriaci, attivi dalla fine degli anni novanta, chiama in causa anche la politica italiana ma, concept a parte, si distingue ancora una volta per determinazione e capacità di offrire un’interpretazione differente del tipico noise metal alla Unsane, che soprattutto negli States scopiazzano in continuazione. Il suono brutale di alcuni passaggi (‘Anti’ e ‘Arbeitsunwill’) contrasta con numeri prettamente heavy (‘Fuck Me Blind’ e ‘Best Days Of My Life’) ed altri in cui emerge un profilo più dark (‘Happines Is Hard To Hold’ e ‘A Knife For Every Heart’). In generale i Bug sono una band che non ama perdersi in troppi discorsi, Markus Dolp è cresciuto come frontman negli ultimi tempi e Oliver Altmayr è un batterista dinamico e potente che permette numerose soluzioni ritmiche. Il mixaggio di Mathias Magerle è in linea con quello di ‘Atropos’ e la speranza è che Interstellar Records abbia la possibilità di promuovere in maniera adeguata un lavoro che, in quel caso, potrebbe creare un discreto buzz nell’ambiente. Difficilmente inviterete i Bug al vostro compleanno ma se c’è da fare casino gli autori di ‘Calamitas’ non si tireranno certo indietro. (suffissocore.com lorenzo becciani)

Dem Innsbrucker Raptoren-Quartett BUG konnte ich bei "Atropos" (2013), dem Abschluss ihrer Moiren-Tetralogie, gediegene Gymnasialbildung, hauptsächlich aber sarkasti- schen Biss bescheinigen, so wie Markus Dolp da von Folter und dem 3096-fachen Alptraum von Natascha Kampusch sang. Auf Calamitas (INT043, LP) geht's diesmal um Ruby Rubacuori ('Danger Babe'), Bunga Bunga und die Ruby-Affäre (oder die Unmöglichkeit, alten Säcken das Maul- und Schwanzwerk zu legen), um das Elend hinter der Schlagzeile "Arbeitsunwillig: Steirer sägt sich Fuß ab" (2012 in Die Presse), um 'Kim Jong-il' in seinem Wahn, um einem King of the Road im Geschwindigkeitsrausch, um Aberglauben, das Fegefeuer und andere Abgründe. Immer eine Nummer größer, eine Nummer böser: I don’t want to kiss you. I want to devour you. I don’t want to entertain you. I want to brand you ('Anti'). Die Venus im Pelz trifft Mickey Spillane in einer Sin City-Spelunke: She is my dark queen. I am her prey. She swallows me whole. She’s got 'a knife for every heart'. Dolp gurgelt, schreit und brüllt wie einer von Jim Thompsons getriebenen Finsterlingen: Just pain. Just fate. Disaster strikes. Must have. Will have ('Fuck Me Blind'). Und I take what’s mine. I break hearts. I wreck lives. I do what I have to do. I bear the consequences ('best days of my life'). Dazu kommt es knüppeldick und knüppelhart von Oliver Altmayrs Drums, dazu schwingen Andreas Deutinger und Pete Hofer, der süße Berserker, Bass und Gitarre wie siebenschwänzige Katzen. Besiegelt mit 'nem Epitaph für die Untergeher dieser Welt: 'Happiness is hard to hold.' "Calamitas" gibt es in einer schwarzen und einer blutigen Version der Darmverschlingungen des Covers, beides haut rein wie die sprichwörtliche Faust ins Auge. (Bad Alchemy rigobert dittmann)

Put on the circuit via Interstellar Records in mid-October 2k17 is "Calamitas", the latest full on album serving catered by the Austrian band outfit known as Bug which has been making waves, or better: unleashed hell'ish maelstroms of deadly noises, for almost two decades now. And with their newest effort they're marching forward on their path of destruction. A production that provides a hard hitting wall of sound, furious drums, angry vocals and brutal, yet precise guitars brings on a 38 minutes tornado of fire and fury that'll be a pure pleasure to fans of Metal and NoiseRock although tunes like "Arbeitsunwill" in parts even evoke, although way distorted, memories of genres like Alternative Rock whereas "Fuck Me Blind" brings forth a classic Hardcore attitude and "Best Days Of Our Lives" lives up to the promise of thundering DeathRock like nothing else. Brutal, noise-ridden, good. (nitesylez.de baze.djunkiii)

No nos cansamos de repetirlo: hay vida más allá del circuito cerrado anglosajón y nuestras fronteras. Europa continental, y no sólo los antiguos países del bloque comunista, ha sido tradicionalmente un terreno fecundo para los sonidos extremos. Y un buen ejemplo son Bug, grupo austriaco de la localidad alpina de Innsbruck. Porque no va a ser todo esquí y las glorias imperiales de Sissi.
Bug acaban de cumplir veinte años en la carretera, han tocado con la flor y nata del post-hardcore de las catacumbas (Unsane y muchos más) y lo celebran con el que, según sus propias cuentas, es su octavo disco. Guitarras abrasivas y disonantes deudoras tanto del punk más radical como del metal y el blues-punk extremo (pensemos en unos Jesus Lizard más cabreados y con un punto metalero), baterías atronadoras de ritmos arrolladores y los versátiles espasmos vocales de su cantante, que en su versión más extrema remiten a los alaridos de, pongamos, unos Envy, pero sin el poso épico de los japoneses.
Aseguran que este denso y oscuro Calamitas está inspirado temáticamente por Ruby Robacorazones, la joven que supuestamente cautivó a Silvio Berlusconi hace unos años (relación que estuvo a punto de llevar al ex primer ministro italiano a la cárcel), pero hay más: mujeres letalmente fatales, recuerdos que nos atormentan y el hombre que se cortó una pierna para cobrar una pensión (sin éxito). El siniestro sátrapa de Corea del Norte, Kim Jong Il, también tiene su tema punk frenético que se inicia tras sarcástica fanfarria comunista, y termina con versos memorables: “My style is so fuckin´trendy. My fellow countrymen starve in pain”.
El cuarteto austriaco bucea, en suma, en el lado oscuro existencial, con cortes en los que combinan inglés y, puntualmente, alemán. Dominan y modulan su discurso desde la brutalidad sonora de Anti o Fuck Me Blind al blues infectado de Arbeitsunwill o Blutjesudotcom, ésta con ecos de The Fall, y el ritmo sincopado de Knife For Every Heart. Un viaje al corazón de las tinieblas que al concluir, le deja a uno noqueado y sin aire. El efecto que persiguen, claro. (mondosoro.com josé carlos peña)

A tre anni di distanza dalla loro ultima fatica discografica, sono tornati i Bug, prolifica formazione austriaca giunta al dodicesimo disco in appena due decadi. "Calamitas" (uscito per Interstellar Records) raccoglie nove tracce che restano abbastanza fedeli a schemi metal, pur concedendo qualche variazione sul tema. L’apertura è affidata ai riff muscolari e possenti di “Anti” e alle violente scariche elettriche di “Danger Babe”, idealmente dedicata a Ruby, “colei che aveva rubato il cuore a Berlusconi”, com’è possibile leggere nella nota stampa. “Arbeitsunwill” rappresenta invece il punto di incontro fra sferzate (black) metal e trame chitarristiche addirittura in salsa blues. È il momento migliore di “Calamitas”: subito dopo arriva anche “A Knife For Every Heart”, col suo fitto flusso sonoro contaminato di post punk. Il cuore metal dell’opera torna a pulsare con la tenebrosa “Fuck Me Blind” e l’ironica “Kim Jong II”, dal ritmo più frenetico e cangiante della precedente. “Blutjesudotcom” brilla grazie a ottime linee di basso e a un passo incalzante, che sembra suggerire possibili deflagrazioni, ma che sfocia in distorsioni e assoli, strutture simili a quelle di “The Source Of Lights Is Burning”. In chiusura, l’elettrica e schizofrenica “Best Days Of Our Lives” conduce alle suggestioni dark di “Happiness Is Hard To Hold”, impreziosita da tracce di noise. “Calamitas” è un altro bel lavoro per i Bug: pur restando fedeli a una proposta artistica ormai ben radicata nel loro DNA, gli austriaci confezionano dieci pezzi diretti ed efficaci, senza mai brillare particolarmente ma anche senza andare mai in affanno. (musicmap.it piergiuseppe lippolis)

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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