Kitchen Leg Records

Pieuvre's "Away From Human Behaviour" will be released Friday! We are very excited about this tape, it is an album of angular, witty, impertinent post-punk tunes, whom lyrics speaks about alienation of work life, the vacuum of consumerism and what makes us different from a plant or from some inanimate creature, like the ones on the cover...we are also greateful that it will be our first collaboration with @adagio830records ! Come to pick your copy Fri 24.04 at @schokoladen.bln, Pieuvre will perform with the excellent @intro2filmtheory ! Thanks to #littleleagueshow for organizing! Ticket for pre-sale

BERLIN POST PUNK! A feminist band*s happening is back!

Featured on the timeline: GARRROT & SuperCheri.

GARRROT (noise punk – Nancy, FR) is a three-piece band drawing influence from hardcore punk and raw noise textures. Their tight, fast-paced rhythm section drives the songs forward, while a newly added guitar introduces dissonant tones and sharply controlled feedback, bringing an edge that’s often missing from this delightful musical genre.

The French band is landing per chance in Berlin in the middle of its tour.

&

Originated as solo 4-tracks tape project, SuperCheri expanded as band in Dec 2023, having Andrew (from Hit Gib, Post Spiderhole Ensemble, InstantVoodoo and co-owner of Kitchen Leg records) on bass, Magali (from DianeElectro, 100 Kicks, MILFMAFIA) on synths and voice, Itta (from The Cabs, Novatron) on drums and Federica (from DuChamp, Instant Voodoo, Brabrabra, Pieuvre, Fausto Maijstral and co-owner of Kitchen Leg records) on guitar and voice. In 2026 Pia (from Pieuvre and Dry Fruits) joined the band as drummer. In February 2026, SuperCheri released „Whau Whau“ on 10 inches via KitchenlegRecords, the first SuperCheri EP as full band. The album includes songs already present on the „Featurette“ tape, but re-arranged as a band, gaining power, volume, substance, and two previously unreleased songs. Their music is fun, uncompromising, raw, energetic. Funk in a way, punk in another.

Doors open at 8:30

This is sound salon @gruenersalon.berlin!

Curated by Pia H

-->> https://www.mixcloud.com/nstop/cycles-per-second-december-3-2025/

Jejeje on Cycles Per Second, a weekly show on Seattle radio station Hollow Earth Radio (KHUH-LP 104.9FM)

On this week’s show: Pulsating pop from Paris (Alvilda) to Helsinki (Teini-Pää). German indie from taut (MARAUDEUR) and minimal (Jejeje) to expansive (Melting Palms) and psychedelic (LOBSTERBOMB). Japanese retro power-pop (FRETBUZZ), gentle British guitar psych (The Bevis Frond) and heaps of new American indie rock from Chicago (Mint Mile), Atlanta (Arbor Labor Union), Brooklyn (Inland Years), Providence (Older Brother) and Washington, DC (Nice Breeze).

Gelbart  – TK 745 (Kitchen Leg Records)

A snarl of guitar. Drums charge in. We’re in the land of garage rock until seconds later everything trips into a maze of Super Nintendo synth tones. Vocals sound like (The Fantastic Four’s) H.E.R.B.I.E. babbling through a busted walkie-talkie. An orchestra appears as if from nowhere for an epic finale. ‘Crawl Into Your Cloud’ opens Berlin-based Adi Gelbart’s TK-745 in a blast, constantly wrong-footing the listener while never feeling forced. It sets a bamboozling tone and pace Gelbart maintains throughout the album, which is named after the Grundig TK-745 – a 1970s reel-to-reel used amply on this cassette. The rest of his set up includes “Dutch consumer-grade plastic mics” and “basic tape effects”. ‘Koenji’ is drum machine surf rock with carnival organ, ‘Autostatic’ sounds like The Sonics jamming with Koji Kondo. Closer ‘The Egg’ is a surreal haze equal parts sixties girl group and tape mangled exotica. Genuinely eccentric, casually mind-blowing, DIY with a boundless sense of imagination, TK-745 is the sound of a one-person pocket pop-symphony traversing the confines of the home studio. (Daryl Worthington)

Xacklebox here with a fine cassette of home-made songs – this is Forrest McCuller who we suspect is also the same fellow involved in visual arts, film-making, and inventing his own instruments, and might be based in Oakland California.

Today’s tape is one of many representing the “accessible” pop-music melodic side of this odd micro-label, and it’s called I’ll Show You! I’ll Show All Of You! (KITCHEN LEG RECORDS). It’s got that 1960s wayward psychedelia vibe for sure, but also tunes into the spirit of Sebadoh and perhaps, if the singer were several degrees more emotionally battle-scarred, Daniel Johnson. My taste runs to the minimal-experimento mode he has mastered so well on ‘Rain Rabbit’ and ‘Cyclical Depression’, reinventing the Cold Wave genre on his own terms and prepared to take on all comers with his chilling synths and his “lost in the fog” vocal sound. You may prefer the upbeat mood of the title track, but even here the lyrics are obscure in meaning and a purple cloud may threaten the sunshine mood at any moment.

There is something suspicious about a band called Jejeje. It sounds like a laugh typed into a message you are not entirely sure how to interpret. Is it irony, politeness, mockery, flirtation, discomfort. In Spanish it can mean all of that at once. That ambiguity is not branding. It is thesis.

With "Ambivalencia Artificial", released on 12-inch vinyl by Kitchen Leg Records in collaboration with Repetidor and Sub Post, the Berlin-based trio delivers a debut that feels less like a collection of songs and more like a corrective gesture. Against flattening algorithms, against the smooth plastic sheen of consensus culture, against the idea that everything must be optimized and categorized, Jejeje chooses friction.

The band’s roots stretch back to Barcelona’s DIY constellation around Ojalá Esté Mi Bici, eventually crystallizing in Berlin after a house concert involving Geoff Farina of Karate. The members, Jordi, Itacate, and Zutoia, bring histories from projects that orbit punk, experimental pop, and noise. You can hear that lineage, but you do not hear nostalgia. This is not retro post-punk cosplay. It is a recalibration.

Musically, the album constrains post-punk into taut, almost mathematical structures. Rhythms twitch and pivot, shifting weight with a kind of nervous intelligence. Math-rock signatures appear, but without technical grandstanding. The guitars avoid decorative flourish. Melodies slip through cracks rather than sitting proudly on top. Everything feels deliberately lean.

The opener, "Evitacionismo", sets the tone with angular propulsion. It does not explode. It tightens. The drums snap into irregular patterns while the bass line traces a minimal but insistent contour. "Ser" and "Hablar con la pared" continue this approach, building tension through repetition and abrupt turns rather than through crescendo. The title “Talk to the Wall” feels apt. There is a sense of communication attempted under adverse conditions.

Lyrically, the record addresses social homogenization, artificial intelligence, and the erosion of ambiguity. It would be easy to lapse into didactic slogans. Jejeje avoids that by staying oblique. Words are clipped, sometimes almost thrown away. The skepticism embedded in the band’s name carries through the vocal delivery. It sounds like someone laughing at a system that insists it understands you better than you understand yourself.

On "Solas en casa" and "Patético", vulnerability slips in sideways. The minimalism amplifies small gestures: a vocal inflection, a sudden rhythmic pause, a guitar line that feels like it might unravel but holds. Even moments that flirt with catchiness, such as "Peces Voladores", remain slightly off-balance. Hooks are offered, then subtly distorted.

Side B deepens the unease. "Miedo" operates on a pulse that feels simultaneously mechanical and anxious. "Copa Triangular" plays with geometric rigidity in rhythm, as if structure itself were under examination. "Televisor" and "Rayos X" lean into surveillance-era imagery, musically echoing that theme with clipped patterns and exposed spaces. The closer, "Soccorista", leaves things unresolved, hovering rather than concluding.

Kitchen Leg Records, with its long-standing DIY ethos inspired by collage culture, riot grrrl energy, and Minutemen’s econo philosophy, is a fitting home. The limited black vinyl edition with lyric inserts reinforces the physicality of the project. In a landscape saturated with frictionless streaming, this is an object that insists on edges.

What makes "Ambivalencia Artificial" compelling is its refusal to comfort. It proposes that ambivalence is not weakness but necessity. That clarity can be oppressive. That a laugh typed into the void can carry critique. The trio does not provide grand answers to technological anxiety or social flattening. Instead, they construct tight, wiry songs that embody resistance through form.

Lots of WFMU plays for Jejeje!

Detrás de una onomatopeya que invita a tomarse la vida con cierta ligereza –lo cual se agradece, especialmente en esta época de solemnidades– está un trío afincado en Berlín y formado por Zutoia Ríos (Muerte y Destrucción), Jordi Tost (Parmesano) e Itacate (Roto).

Formado en 2020 y con cierto recorrido en los escenarios españoles y europeos pospandémicos, el grupo –respectivamente, guitarra, batería y bajo– acaba de lanzar un primer álbum coeditado por el sello de Igualada Repetidor, especializado en propuestas alejadas del mainstream.

En este debut Jejeje exploran los confines que hay entre el math rock no envarado, el post-pop, la pulsión rítmica del post-punk, la vanguardia digerible y el espíritu juguetón que anticipa su propio nombre. Todo ello con una filosofía minimalista que evita cualquier tentación de fuegos artificiales, y que está emparentada con otros nombres del underground local curtidos en el circuito de salas alternativas de por aquí y más allá. De hecho, uno de los méritos del disco es haber capturado la química del trío en vivo.

Grabado por José Antonio López en en su estudio La Caterva de Gran Canaria –lugar que parece haber dejado su huella–, en las once canciones los tres músicos se reparten las tareas vocales, combinando fraseos típicamente post-punk con coros sugestivos.