Hathors – When The Sun is Out / When Skies Are Grey

Hailing from Winterthur, the trio — Marc Bouffé on guitar and vocals, Sarah Zaugg on bass, and Dominique Destraz on drums — blends a spectrum of rock influences, with nods to The Pixies, Madrugada, and The Wipers. Their sound is a reflection of life’s unpredictable ride, shifting effortlessly between quiet introspection and full-throttle noise.

Art isn’t just a backdrop for Hathors—it’s integral to their identity, shining through in their album covers, photography, and videos. Their noise-rock, layered with a touch of pop, echoes the band’s journey through lineup changes and the challenges they’ve faced together. Their upcoming album, ‘When the Sun is Out / When Skies Are Grey,’ captures this journey—a straightforward alt-rock experience that hits on the raw emotions of life.

Heckspoiler – Tokyo Drift (1st Repress Vinyl & 1st Repress Tape)

Ihr kennt das ja, wenn ihr selbst vom Land kommt. Der Handel zieht weg, die Ortskerne verwaisen, Bus fährt keiner, und da, wo früher der Schlecker stand, wird eine neue Reihenhaussiedlung hingebaut. Wer noch nicht weggezogen ist, fährt mit einem geil getuneten Auto durch die Gegend und singt dabei: „Ziag die Haundbremsn au, fürn Tokyo Drift, nur daquer bist wer im Kreisverkehr“. Das sind dann wahrscheinlich auch dieselben Leute, die sich täglich vor dem Zubettgehen mantraartig vorbeten: „Morgen her i fix zum Saufen auf, des nimm i ma scho länger vor.“ Und vielleicht wollen genau diese Menschen dann zwar in der „Profiliga“ spielen, aber trotzdem nichts dafür tun. HECKSPOILER singen und brüllen auf ihrem zweiten Album über „Angst“ und „Neid“ und wissen außerdem „wo dei E-Bike steht“. Dazu wummert der Bass und knüppelt das Schlagzeug, als gäbe es kein Morgen. Da gibt es rasend schnelle Nummern wie „Vendetta“, während „Elektrobike“ gegen Ende hin doomig eskaliert und „Maurice“ funkig dahin groovet. Zu Beginn zumindest, denn auch hier folgt auf den Groove bald die Eskalation, weil eskalieren, ja, das können sie, die beiden Oberösterreicher. Und genau das tun sie elf Songs lang zur Genüge, drüben an der Schnittstelle von Punk, Hardcore und Metal. Mehr als Bass, Schlagzeug und ihre großartigen Mundarttexte braucht es dazu auch gar nicht. (HC Roth, OX-Fanzine #162)

le_mol – J_LLY G__D _iME_ (CD)

Composed of the last two EPs „J_LLY“ & „G__D“ and yet plenty of new material the LP culmination marks a worthy end point to this release cycle.

Musically, le_mol feature some truly catchy lead vocals by legendary Hans Platzgumer (‚prds recomposition‘) and embark on more electronic avenues (‚Fun With Teeth’, ‘Me? Lol‘) while maintaining the trademark melancholy loop-based instrumental rock sound (‚Damn You! Grown Up World‘, ‚Welcome To The Bubble‘) they are known for.

Artistically, via a juxtaposition of odd song titles and nostalgic-analogue photographs from Vienna’s funpark „Wurstelprater“ with the thoughtful post-rock music they are known for, le_mol try to express their perception of the zeitgeist.

As kids of the 90s and the wealth, peace and MTV that comes with that decade „J_LLY G__D _iME_“ is le_mol’s reflection on being thirtysomethings in a world where the European stability of yesterday seems to disintegrate with every passing week and existential crisis lurks around every corner. Sounds like a bit too much? Thankfully, the band thinks so itself and can’t stop themselves from a smidge of mirth and irony throughout the album.

All of this without any real lyrics other than a feeble AI bot that can’t even properly speak English?
Yes, that’s what instrumental music does to your head. Luckily. Welcome to the ride!

Baits – All Filler No Killer

BAITS: All Fillers and No Killers?

Can an album title lie to you? Yes, it can. The four members of the Austrian band BAITS call their second studio album “All Filler No Killer”. Yet, what’s inside is exactly the opposite of what’s written on the outside. Is the album title a subversive critique of an aging rock star’s megalomania? It’s not exactly clear. But one thing is certain: the album contains no fillers, only killers. The quartet, centered around the magnetically charismatic frontwoman Sonja Maier, serves up 11 absolute hits on “All Filler No Killer”, oscillating between Nirvana, Weezer, Hole, Ramones, and Amyl and the Sniffers while still maintaining a unique, unmistakable identity. Punk is just the base camp. From there, the four-piece band climbs musical heights that couldn’t be more different. Whether it’s a danceable pop song, a captivating garage rock track, a harmony-rich punk anthem, or a hard-hitting number for the mosh pit – all these songs have one thing in common: they first burrow into your ear and then straight into your heart. But the brain isn’t neglected either.

It’s about power, gender, privileges, and injustices. The singer doesn’t make any prisoners, but she is always aware of one thing: the situation may be hopeless, but not always serious. “All Filler no Killer” is held together by drummer FAZO666FAZO, who also shines as an extremely competent producer. What remains is the impression that the band has evolved to a higher level. BAITS’ second effort sounds tighter, more rounded, and technically more sophisticated at every moment than its already impressive predecessor. In conclusion, “All Filler No Killer” proves that BAITS know exactly where they are headed, which is straight to the top.