#kktz

3 new tape releases + Bodež zine finally out on Doomtown Records and sub-labels!!! OC 006 MOB 47 - Sjuk Värld CS Sjuk Värld is a piece of fast, raw and punishing Swedish hardcore punk, originally released on Ägg Tapes in 1984. As this is the first time the material got a proper official European reissue, we took special care to make it look and sound good for your listening and visual pleasure. Mob 47 had an important role in defining Swedish hardcore and were heavily inspired by the almighty Discharge, so we're sure the most of you know what's going on here. Garanterat mangel! The pro-dubbed tape is available in red/grey/green cover and limited to 200 copies. Each copy includes a folded lyric sheet. DT 041 Gutterskull - Coldness Of The Bunker CS

The latest demo by Croatian one man band Gutterskull is a perfect fusion of primitive d-beat and raw black metal, which we liked so much we had to put it out on tape. "Coldness of the Bunker" continues the tradition of DIY hardcore punk bands in which KKTZ has played before, doing what he knows best, but this time focusing on d-beat, the most primitive side of black metal and first wave black metal classics like Hellhammer, Sodom, Bathory and Celtic Frost. This demo is mayhem from start to end, with a raw, primitive intensity, reminding us of the destructive grit of early Stooges. Think about absolute minimalism here. KKTZ's worship of old Discharge, Shitlickers and Disclose can not only be heard in riffs, but in bleak military-themed lyrics. Lyrically, war is the main topic here, its ruthlessness as a metaphor for a world in which struggle is all that's left. KKTZ has been one of the most prolific and longest lasting artists from the Croatian underground scene, playing in bands such as Nonsense, Fight Back, Senseless and Gruuthaagy, while also making music under the monikers Talog and Tenebrositas. The visual aspect of this release draws inspiration from the underground art scene that KKTZ has been a part of since the second half of the eighties, rooted in fanzines and through the DIY nineties, all the way to his current style, which is completely minimalistic, raw and expressive.

CBR005 Constant Cold War - Tape II CS Constant Cold War is a one-man-band/project by Marian from Cold Leather, Catholic Guilt, Imposition Man, Gesture, Moron, Skeleton Glove etc. writeup by Dirt Sleeze: "The burglar's tongue sticks out of his balaclava as he nervously tries to break into the neighborhood church through the back door. A lightbulb is flickering in a filthy kitchen while a serial killer manically rushes through newspaper pages hoping to read something about his latest masterpiece. A starving dog is violently pulling the leg of a mutilated corpse left in the bushes of a nearby park. A homeless man trips and falls on the train tracks of a U-Bahn station while the only bystander was minding his own business, Chrome's Alien Soundtracks in his headphones. An ambulance lightens up a damaged facade of an East Berlin apartment building as an overdosed teenager lies inside a body bag. A nosy silhouette is peeping through a window in the suburbs, listening to the sobbing of a woman who's about to leave her family tonight. A black cat is slipping through the cracked door of a basement apartment. There's constant static coming from a TV in an open room. A man in a long coat observes the church burglary with a smirk on his face and then vanishes into the night..." writeup by label: The second tape from Berlin's CCW delivers 6 new songs which bring early industrial, experimental post-punk to mind. Maybe even some minimal wave? Add some Flipper and Big Black vibes to a garagey lo-fi take on earlier Killing Joke, mix with some Chrome swagger and maybe that could give you an idea what CCW is all about? Marian was also listening to early Earth records a lot while recording for CCW, so a droney influence wouldn't be unexpected? Not sure if all of this makes sense, but I do hope there'll be more CCW recordings in the future! BP 001 BODEŽ – Dvadesetisedam uboda Zine The zine covers a selection of Bodež’s (½ of Doomtown Records) flyers, made mostly for local gigs or gigs booked by friends from Sheffield, Paris and Vienna. The zine is the first in a planned zine series, entitled “Bodež Produkcija” (Dagger Productions)

Bodež made his first mock flyer back in 2005, but his first official flyer saw the light of day in 2008, advertising the Danes’ Hjeretstop and Night Fever gig at the then-illegal Medika squat. This was also the first show booked by Bodež, introducing a clear and comprehensive DIY approach to his work. Even though he’s been doing flyers for over 15 years, this exhibition showcases his work from the last five years, when he took his style to another level and made it recognizable to a wider audience. As the author himself simply stated: “I began investing more time, thought and effort into my work”.

At first glance, as well as the second, even though each flyer is different from the others, they present a surprisingly strong whole. Looking at them, we don’t evoke memories of cult American flyers from our record collection, nor do we recognize timeless punk motives from the eighties. Despite an occasional unavoidable pop culture reference or hommage, Bodež’s style is quite distinguished and authentic, especially within a genre where originality doesn’t come easy. It’s also hard not to notice the somewhat nostalgic motives from comic books published by Sergio Bonelli, a publishing company strongly present on the Croatian market back when Bodež was growing up. In his words: “My interest in comics still hasn’t left those boundaries”.

If we were to name drop everything and everyone that his work reminds us of, we’d definitely mention the Crass-like patchwork of Gee Vaucher or post-punk DIY aesthetics of Television Personalities and similar bands of the late seventies - even though the flyers were put together not only by the cut & paste method, but also using some similar modern design tools, mostly Photoshop. Seems like his days in the graphic design department of a daily newspaper left its mark, which is obvious from the rest of the materials used as flyer backgrounds - even though Bodež named Hrelić, the most important of Zagreb’s flea markets, as the place influencing him the most. After Bodež’s treatment, city skylines and buildings became dystopian dwellings, reminding us of David Lynch’s early phase, like we’re in Eraserhead’s backyard, whilst the macabre motives of skeletons and demons are trying to tell us - this music isn’t friendly nor nice, be it a Post punk Wednesday or Distort Zagreb.

Some of the bands appearing on the flyers: RAT CAGE, APSURD, EXOTICA RIXE, EKE BUBA, TRAGEDY, YOUTH AVOIDERS, COLD LEATHER, EXTENDED HELL, IDIOTA CIVILIZATTO, LUMPY AND THE DUMPERS, BAD NOIDS, SIEVEHEAD…

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This is a prompt I got back in April, and only got around to finishing now. Enjoy!--