...REVIEWS !!      

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greennoiserecords.com (US) Sep 2022 Berliners S.U.G.A.R. with their trash-compactor lick-laden rock n roll, greaseballs of grimy eurotrash, loading it up and riffing it into action, a punk rock bucket of fuel to light the load on fire, putting the focus to the slop and returning with a vengeance for this second set, hitting it with some trim-press punch and big-block speed, speed shifting through the cuts, upping the ante and kicking out the jams. Kick ass.(mw)

onetwoxu.de (GER) SEP 2022 Following last year's somewhat uneven debut LP of this Berlin group, their newest album is a huge step forward in every aspect - the hugely improved song substance being driven forth with unrelenting momentum and captured in a mid-fi aesthetic that fits them perfectly. Soundwise, they're clearly taking cues from a long lineage of proto- and oldschool garage punk - obviously Stooges, MC5 and Death to begin with, in addition to Dead Moon and some Wipers touches but, most of all, that austalian breed of groups like Saints, Radio Birdman, Scientists appear to have left their mark in their sound, not to mention the larger-than-life fuzz punk one-hit-wonders God - but while the latter seemed to flame up and burn out over the short duration of one glorious A-side never to reach such heights again, S.U.G.A.R. show no signs of wear yet, repeating that marvel eightfold for a certified all-killer-no-filler album.

plainlyandpainfully.com SEP 2022 Berlin-based gargoyles S.U.G.A.R. have returned with an insultingly good garage punk record, II. Selected track “Heartbreaker” is beaming through a patina of crud and graced with a few golden riffs. It meets the criteria of control achieved through a willing proximity to its loss, shakes and thuds with ease and comfort within that chaotic coil. The production is aiming for and hitting the best live show you’ve ever seen, coherency emitting from the swell of reverberations; that sort of rare swill composed of bottled blood and lightning. It is perched on the peak of something that is crumbling, all the boys say so. If you want an informed and competent review, look to Groschi, I’m just here to belch up my impressions and fill a bit of space. It comes in solid gold and/or black vinyl, or digital for the mark of the beast (EU style) from Alien Snatch Records. (5/5)

addtowantlist.com SEP 2022 Berlin three piece S.U.G.A.R. don’t care much. They are clearly not worried about production values. If you like your music full of polish and shine, look elsewhere. They don’t care about album length neither. Like their self-titled LP, there are only 8 songs on their sophomore record. Album titles? Not really something S.U.G.A.R. makes a fuss about. Their new LP simply is called II. Your ears? Not their problem, they will turn their amps all the way up regardless of your ear protection.The only thing S.U.G.A.R. seems to care about is making wild and sleazy garagerock’n’roll (RIYL: MC5, The Stooges, The Dictators) that is dirty and loud. Luckily, they excel at doing exactly that and we should be grateful to Alien Snatch Records who have a way of digging up and releasing bands like these. (Niek)

RAZORCAKE MAGAZIN (US) AUG 2021 Alien Snatch never steers you wrong and once again they deliver the goods. Eyes closed I woulda said Australia circa ’78—Saints, Leftovers, Scientists, et al. Shit, I would even toss in the Cosmic Psychos for good measure. These cats are from Germany (who knew?) but have had their heads stuck in the proto punk MC5 jar. Shit ain’t pretty, but it’s got all the ugly punk rock swagger it needs. Boss sounds for ugly cunts. (TB)

maximumrocknroll.com (USA) June 2021 Slick, greasy rock’n’roll punk from Berlin. Driving, non-stop drums and guitars with vocals that are reminiscent of Wattie Buchan fronting the SPITS. A solid addition to the Alien Snatch canon. (TJ)

NEW NOISE MAGAZINE (US) May 2021 Berlin’s S.U.G.A.R. was formed seemingly to keep its members from dying of smoke inhalation and liver failure during quarantine. Once the pandemic restrictions went into place it would have been easy for many of us to have spent the remainder of 2020 lighting up and kicking back with a couple cases worth of beer. Thankfully this trio of ne’er-do-well had slightly more ambition than the rest of us and got their shit together enough to write, record, and release an album with Alien Snatch! They haven’t played any live shows yet, but you can probably imagine how they’d have a tendency to implode. They can probably manage to get through most of these Southern California-inspired, proto-hardcore and reprobate-rock and roll tunes while drunk enough to be legally dead, and I’m sure the band is eager to prove this fact in front of worried audience members and dismayed paramedics alike. If you’re not sure where to start with S.U.G.A.R.’s self-titled album, then drop a needle on the dancing cobra-chord angler and Agent Orange tinted “I Don’t Want To Be Your Friend,” then hop over to the Saints by way of Johnny Thunders-esque rumbler or “Feel Alright,” and then take a dip into the fully-loaded, methadone-chewing, Suicide Commandos trench raider “The Cure.” If you dig those three, hit reverse, start from the top, and give this skuzzy enchilada the time it needs to exhibit all the cheesy, hair-brained gusto it has to offer.

greennoiserecords.com (US) May 2021 Filthy euro-trash punk rock n roll from Berlin, oil-stained and charging forward with riffs and rhythm, yelping garage rock crash bang, tire irons and beer-stained sneakers, bouncing on a rusty leaf spring on the cracked cement of your uncle's garage, sounding like the V8 Ford might fall apart but it keeps motivatin' over the hills. (mw)

FRENCH

VOIX DE GARAGE (FR) Sep 2022 1er album sec, court et percutant pour ce jeune trio de chevelus de Berlin ! Ils aiment les guitares puissantes qui savent rugir, mais aussi poser de vraies chansons sur leurs rythmes soutenus ! Un titre comme "Let it go" avec son sax free rappelle les Stooges, que S.U.G.A.R. ne singe pas mais l'intensité est une inspiration ! On sent aussi chez eux une vraie connexion avec le Punk Rock et certains groupes qui ont précédé/ préfiguré la early scène Hardcore américaine... X par exemple ! Pas complètement au hasard ! Manifestement pour eux une bonne chanson est une bonne chanson et ils n'ont cure que l'on puisse penser que leur influence vient du Heavy Rock, du Punk, du Garage ou d'ailleurs ! Seul le résultat compte ! Et il compte fort ! Bien ! Fort bien ! Vite et bien ! Oui S.U.G.A.R. prouve que c'est possible ! Etonnant, non ? (BT)

VOIX DE GARAGE May 2021 1er album sec, court et percutant pour ce jeune trio de chevelus de Berlin ! Ils aiment les guitares puissantes qui savent rugir, mais aussi poser de vraies chansons sur leurs rythmes soutenus ! Un titre comme "Let it go" avec son sax free rappelle les Stooges, que S.U.G.A.R. ne singe pas mais l'intensité est une inspiration ! On sent aussi chez eux une vraie connexion avec le Punk Rock et certains groupes qui ont précédé/préfiguré la early scène Hardcore américaine... X par exemple ! Pas complètement au hasard ! Manifestement pour eux une bonne chanson est une bonne chanson et ils n'ont cure que l'on puisse penser que leur influence vient du Heavy Rock, du Punk, du Garage ou d'ailleurs ! Seul le résultat compte ! Et il compte fort ! Bien ! Fort bien ! Vite et bien ! Oui S.U.G.A.R. prouve que c'est possible ! Etonnant, non ? (BT)

GERMAN

onetwoxu.de (GER) SEP 2022 Nach einem noch etwas durchwachsenen Erstling im letzten Jahr ist das neueste Album der Berliner mal ein massiver Sprung nach vorne in so ziemlich jeder Hinsicht - die Songsubstanz ist hier durchweg erste Wahl und spiegelt sich in einer wuchtigen, tighten Performance, festgehalten in einem Mid-Fi Sound der ihnen ebenfalls deutlich besser steht. Soundmäßig bedient man sich klar aus einer langen Abstammungslinie des Proto- und oldschooligen Garage Punk - offensichtlich natürlich Stooges, MC5 oder Death und nicht weniger prominent gucken auch Dead Moon und etwas Wipers um die Ecke. Besonders scheinen aber australische Bands wie Saints, Radio Birdman, Scientists ihre Spuren zu hinterlassen, ganz zu schweigen von dem Fuzzpunk One-Hit-Wonder God, das seinerzeit scheinbar über die Laufzeit einer einzigen göttlichen A-Seite aufflammte und ausbrannte, um dann nie mehr dessen Klasse zu erreichen. S.U.G.A.R. hingegen zeigen noch keine Abnutzungserscheinungen sondern liefern hier acht mal astreine Qualität ohne Ausfälle.

manierenversagen.de (GER) SEP 2022 Bei dem zweiten Album der Berliner Sugar ist es schwer, es nicht sofort ins Herz zu schließen. Also wenn man Garage Punk mag und ein Faible für den frühen Kram à la Stooges und den aktuellen Kram aus Australien à la Stiff Richards und Kollegen hat, sollte man sich hier wunderbar aufgehoben fühlen. Obwohl die Band ganz wunderbar auf der Hedi Get Lost Bootsfahrt funktioniert hat, plätschert hier nix vor sich hin. Das ist Rock’n’Roll aus der Punkmaschine für 25 Minuten Tanzen unter der Bierdusche. Alien Snatch, natürlich.

OX (GER) #156 JUN 2021 nicht SUGAR. Keine Neuauflage von Bob Moulds erster Band nach HÜSKER DÜ, sondern drei langhaarige Berliner, die in aufreizender Pose auf dem Cover ihres Debütalbums herumstehen. Erinnert die einen, die sich auskennen, an die famosen COSMIC PSYCHOS, und die anderen an die BLACK LIPS. Und erstere sind nicht nur optisch, sondern auch musikalisch eine passende Referenz. Was S.U.G.A.R. als Pandemie-Neugründung ohne Shows schon allein basierend auf diesen Studiosessions als Opener für deren nächste Tour (also die der Aussies) empfehlen würde. Und dann noch GIUDA mit dabei – wundervoll. Wer die drei Jungs oder ihre bisherigen Bands sind, lässt sich auf die Schnelle nicht ergründen: Sänger/Gitarrist Flo Krämer, Bassist Padde Problème und Drummer Thee Mighty Miff machen da keine weiteren Angaben, ihr Label auch nicht. Aufgenommen wurde das Album von Steffen Müller aka Dick Rubin im Kölner RRR Studio – und leider ist es ihm auch gewidmet mit den Worten „You will be missed“. Sehr cool das handgeletterte Inlay mit allen Texten. Acht knackige Proto-Punk-Songs auf 45, die nach einer Live-Premiere schreien.(JH)

SPANISH

pupilodilatado.blogspot.com (ES) SEP 2022 NO!, NO SON DE DETROIT... ¡¡¡SON DE BERLÍN!!! Enorme pepinazo venido del sello germano Alien Snatch! Records con el segundo lanzamiento de los berlinenses S.U.G.A.R. ¡Y quien lo diría! porque esto parece venido de los tugurios más peligrosos y oscuros de la Detroit de finales de los 70's y principios de los 80's. Me pone sobre la pista mi compañero y camarada Bernardo de Andrés en su inigualable sección dominical 'Domingos de Reseñas y Novedades' hace dos semanas... ¡¡¡Y no he parado de escucharlos!!!. Vamos a advertiros de un par o tres de cositas para que pequéis... No eres 'Nadie' para dejar pasar semejante Ostia Sónica!!!... ormados en 2020 en formato powertrio, la banda de la capital germana siempre tuvieron claro los parámetros y principios en los que iban a basar su sonido. Para empezar, una actitud jodidamente peligrosa y underground, para continuar, un amor esquizoide por el sonido vintage de Detroit de finales de los 60's con Stooges, MC5 y Dictators a la cabeza y, para acabar, un sonido y producción claramente decantado al 'LoFi' y las texturas garageras más cavernosas. Sacan I (2021), su disco debut, que ya les grangea cierta reputación en directo teniendo la oportunidad de girar con los aussies Stiff Richards e incluso con los Dead Moon de Toddy Cole. Es ahora, a principios de septiembre, que la banda lanza II (2022), la continuación de su debut con idénticos resultados, desde los guiños Stooges del inicial "Nobody" hasta el más atmósférico "Strange Thoughts", a medio camino entre el "The Passenger" de La Iguana y el "1970" Stoogiano. Me gustan también "1984" y "Punching Meat", super Dictators ambos, con aristas y suciedad en todo momento, himnos de cloaca underground, al igual que "Somebody Else", más neoyorkino y urbanita. Acaban el trabajo con el intensísimo e incendiario "Pankstrasse" que en directo debe ser una auténtica locura con ese caótico final en donde todo es absolutamente destruido... (90%)

 

ITALIAN

iyezine.com (IT) SEP 2022 Con un bel salto di 40 anni mi ritrovo di nuovo qui, a contare i danni del neoliberismo: la predominanza del pensiero neoliberale (posto che questo abbia dignità sufficiente per poter essere definito “pensiero”) ha distrutto ogni volontà indirizzata verso la creatività e ridotto ogni cosa a mero prodotto di consumo: se non produci (produrre non è creare, questo sia chiaro), non fai soldi, se non fai soldi, non vivi. La mortificazione di ogni spinta intellettuale fa declinare l’esistente al concetto piuttosto aleatorio di normalità; e la normalità pialla, uniforma, rimuove ogni possibile peculiarità ed unicità. Le realtà particolari vengono, poco a poco cancellate, al fine di ridurre ogni città, paese, villaggio, alla cartolina di se stesso. Fa male, e non poco, vedere che gli S.U.G.A.R. da Berlino, una tra le città più vive e uniche, proprio perché colma di differenze, personaggi veri e realtà sue particolari, si ritrovano a denunciare le stesse impressioni in “Pankstrasse” “Whatever Happened to the City?”si chiedono, appunto, gli S.U.G.A.R. di fronte alla realtà indegnamente sempre più piatta di una città come Berlino; la città che li ha svezzati a birra economiche, commistione culturale e che li ha resi avvezzi, tra centinaia e centinaia di negozi di dischi usati sparsi per la città, al Punk ‘n’Roll di Saints, Pagans e Crime, un genere al quale son stati capaci di aggiungere, e questo secondo album ne è la riconferma, le loro caratteristiche personali: quei toni malinconici che insaporiscono pezzi come Heartbreaker, Nobody e 1984, quella psichedelia disperata, ma comunque ben contenuta dentro ad un Rock n’Roll ruvido ed essenziale, che si può cogliere distintamente in Strange Thoughts. Il gruppo di Berlino non è comunque nostalgico e mescola sapientemente l’immediatezza dei gruppi di cui sopra con una maturità compositiva complessa; non sono pezzi banali o senza fronzoli; anche quando si fanno meno malinconici e più spietati, come nei quattro pezzi che chiudono il disco, si può avvertire tutta la bontà di una penna felice, creativa e che non si rilassa mai su costruzioni da “buona alla prima”: gli S.U.G.A.R. rispondono con creatività all’appiattimento, alla città ridotta a cartolina e contrappongono alla pialla neo liberal schegge di ferro rugginoso e deleterio. Come nella compilation della Damaged Goods, la risposta alla mediocrità è la creatività: inventare forti della consapevolezza di un passato ricco ed esemplare dal quale attingere, impiantare una solida base ed iniziare a costruire un’opera unica. Si potrebbe dire, a fronte di quattro decenni di ottimi dischi, che in realtà la creatività non funzioni come antidoto: dai tempi di Reagan e Tatcher pare proprio che si sia andati sempre più di male in peggio, ma, in realtà, se si considera che movimenti ed esperienze, come la Spagna del 1936 e l’Ucraina del 1917, atti a contestare i poteri vigenti con un risultato positivo (perché, se non fosse per la violenza che il potere applica ogni volta che non riesce ad ottenere il consenso popolare, questi due momenti storici avrebbero avuto ben altro esito), siano maturati, nella migliore delle ipotesi, in circa cinquant’anni di lavoro, dedizione e costanza. Dobbiamo ancora lavorare sodo se vogliamo davvero imprimere una svolta e liberarci. Nel mentre riflettiamo, tuttavia, concediamoci l’ascolto di un disco fenomenale come questo (pare aiuti a riflettere meglio).