Pandemiczny koncert zespołów salkowych

CRK Salka is a thriving Wrocław based collective active since 2006. Although this creative environment has been represented by such groups as Kurws, Ukryte Zalety Systemu, and Przepych, there are many more bands in the room. Some are still waiting for their moment, while others have disintegrated leaving almost no trace behind as their members stitch new constellations. In this space, one plays with sound in various personnel arrangements nested in a growing web of personal connection, reflecting the communal aspect of this collective work. "Pandemiczny przegląd zespołów salkowych" is a documentary film of a concert performed in autumn 2020. It captures the current moment in the life of our community, showcasing its representation today.

Live performances in this video:


On stage current and former members of: Barłóg, Norymberga, Flux, Pustostany, Polaroid Android, Stragesti and others.

Kurws is accompanied by a guest appearance of Filip Zakrzewski (Ślina, Tortex) for one night exclusively.

The video was shot on September 26th of 2020 in the concert hall of CRK (Wrocław, Poland). It was made primarily for those whom we couldn’t let in due to the pandemic, keeping the number of tickets on an acceptable minimum.

Sound recording: Filip Zakrzewski
Mix: Szymon Szwarc
Edit and postproduction: Jakub Majchrzak
Cameras: Karolina Kalisz, Piotr Kawaliło, Jakub Majchrzak, Marie Nachury, Łukasz Plata, Jakub Zasada
Titles: Ewa Głowacka
Lyrics translation: Alicja Grabarczyk, Wojtek Knop, Jakub Majchrzak, Mateusz Waligórski

Intro song: "Elementy" by Różewie    (“st”, 2020,
Outro song: “Szympans” by Norymberga (“st”, 2014, BDTA,

The publication about CRK Salka by Paweł Piotrowicz, Marta Trawińska and Karol Paczkowski can be read online here (PL only): (Pänika)

L'étrangleuse - Vertige & Vérité (Video)

L'étrangleuse est désormais un trio : vidéo live de "Vertige Et Vérité" au petit théâtre du bât de l'âne, juillet 2020.
Mélanie Virot : harpe, voix
Léo Dumont : batterie, voix
Maël Salètes : guitare, jeli n'goni, voix
Une réalisation de Mickael Pillisio

HYPERCULTE en concert, May 28th

Hyperculte played in support of the Bains des Pâquis in Geneve, which are closed due to the corona crisis. You can still see the concert here (Facebook). If you want to support the bath, you can donate: Stay safe!

Przepych - Regresarabas LP now out!

Just out since March 25, 2019, 500 copies made. Released in cooperation with Degelite, La Loutre Par Les Cornes, Red Wig and the band itself. Touring in April and May 2019, do not miss out!

D.U.D.S. - Four (Paxton)

55 seconds from the new album 'immediate' now out on Et Mon Cul C'est Du Tofu, Opal Tapes & Red Wig.

King Ayisoba & Howie Reeve

King Ayisoba with Ayuune Sule and Howie Reeve “Mamma” live at Leith Depot 19th August 2018

ATAMINA - No One Wants To Die

Taken from the album Sycophantic Friends, made by ZEA.
Listen and get it here:
Now out on vinyl too, look here:
and here:

API UIZ 'Peplum' LP

API UIZ is an ultimate rock sub-genre mixed of colored punk spirit. The compositions are an alternating pattern of repetitive parts and feverish flights within a noisy background where hooky flaming tunes try to exist. It is because the group hopes to contribute to the survival of joy and drama in the stereotypical world of pop music. API UIZ also has the weakness of romantic aspirations: waiting for the Big Night but at the same time thinking about mustard while flying over the shanty towns of General Tapioca.

API UIZ sortira en novembre son 7ieme album. Il répond au doux nom de Peplum. : “Comme le péplum du cinéma : grandiloquent, kitch, écrin architectural d’une fin de race Hollywoodienne, mais avec un coeur épique et baroque.” dixit le groupe.

rw 031, record released on November 17th, 2017.

Kurws 'Alarm' LP

Evolution? Revolution? Devolution? There is no certainty about the vector of Kurws’ music. The way from the debut Dziura w Getcie to Alarm leads from a primitive sophistication to sophisticated primitiveness. It is a comic, from which the bubbles are being wiped out with each subsequent page, making it more abstract for some and a lot more concrete for others. More important than a genre or clear explanations here are the nerve, adventurousness and controlled instability of the line. It is these that complement the rest and create images and notions. Kurws speak little, but they throw the news of the world into the cogs of their machine made of nerves conjoined with instruments. In one gesture they reflect reality, challenge it and dodge.

‘Alarm’ is Kurws wrestling with their limitations. Doing splits in asynchronous performance, in expanding their patience and organising silence. There are escapements with the use of many layers, recording tracks with a tape recorder, taking advantage of tape’s physical imperfections. Kurws train in composition, improvisation and – which is relatively new – in casting spells on coincidence, riskily falling out of structures, evading their own habits. They form, lose and cover their tracks. Can you dance to this material? Of course you can, but it is not going to be either the well-remembered Tanz mit Kommune 1 or a clumsy dance with Colossus on clay legs. This time it is a dance on a volcano.

Pascal Quignard has concluded that there is no sleep for hearing. This is why various devices to wake you up appeal to your ears. Sight can be turned away or covered by eyelids. You cannot switch hearing off, though. Kurws exploit this passivity of the ear to the fullest, yet doing so in defiance of the oppression encoded in the music. They use sonic violence in service for peace. They generate tension which releases and diffuses greater tensions. They are like the madman raving in the street that you listen to only to recognise your own fears, neuroses and frustrations. ‘Alarm’ is an alarming album for alarming times. You need to decide yourselves whether it is a fire alarm, a nuke alarm or no more (and no less) than a common alarm clock.

Karol Paczkowski

Melodie & Rhythmus 1/2018: Auch wenn diese Polen eine reine Instrumentalband sind, nutzen sie das Mittel der ‘Vokalisation’ – nicht etwa, indem sie die Emotionalität des Gesangs kopieren, sondern indem sie ihren Tracks die Struktur eines Streitgesprächs oder einer flehenden Geste verleihen. Das Lässt ihre Musik natürlich schroff wirken, aber längst nicht auf so durchkalkulierte Art wie bei den Ruins. Subtil greifen die Instrumente ins Reich der Klänge aus: der perkussive Bass groovt, das Schlagzeug liefert Adrenalinstöße, die hoch gestimmte Gitarre sticht ins Ohr, während das Saxofon den Hörer hin und wieder Gassi führt. Auf dass diese Mischung aus Funk-Anarcho-Punk und Musique concrète euch Neues verkünde!
(Michel Chevalier)

rw 030, November 8th 2017, edition of 500.
LP by Red Wig / Et Mon Cul C’est Du Tofu? / Jacob Records

Coolhaven ‘Rode Pruik’ 10″

Coolhaven’s 10 inch vinyl release ‘RODE PRUIK’, with covers of de Rondo’s and combined with a 24 page comic book-style artwork by De Rondos’ Johannes van de Weert.

At this special release Coolhaven perform covers of both De Rondos and Tandstickorshocks, next to other obscure material. Johannes made an appearance in his own right alongside his old Rondos bandmates (and those from Tandstickorshocks), as ‘Rode Pruik’ is a reworking of old hits from both bands. According to Coolhaven’s Lukas Simonis, “The reworking is done with a Gabber feel, which suited those songs like a glove”.

The comic is a trip guided by Johannes his new alter ego ‘Biggo’ around avant garde history, politics and underground related to the history of Rotterdam and De Rondo’s in it’s timeframe, developing itself to the contemporary situation and Coolhaven’s Rotterdam.

Coolhaven is “a flexible group that flows in a realistic-capitalistic manner if needed and dries up where fluid is redundant.”

Johannes van de Weert was a cartoonist in the Rotterdam punk and squatter movements of the 1980s next to being the vocalist of the influential Rotterdam-based punk band De Rondos (1977 – 1980). He started self-publishing comic booklets in the late 1970s and famously created the ‘Redrat’ character for the fanzine ‘Raket’ in 1980, which soon became an icon for the squatter’s movement.

Released in cooperation with DE PLAYER in September 2017, edition of 300 copies.

rw 029