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Epic ep 2014

Epic epEpic 7″ vinyl ep
(2014 king Penguin 005)
Epic / Everybody Hates Me When I’m Drunk / Anti-Nazi League


Red ep 2011

Red epRed 7″ vinyl ep
(november 2011 king Penguin 004)
48 balls / you know what you are / who wants it all / strength through noise


200 bpm 2008

200bpm200 bpm 7″ vinyl ep
(october 2008 king Penguin 003)
dead wrong / gitmo limbo / one last go / lies and the lying liars


dplusgiglinger: distortion+ cd-ep
(february 2006 king Penguin 002)
the prime suspect / the power of the powerless / downforce / mean streets


bm170big muff 7″ vinyl ep
(january 2004 Legal Records 000)
conflict / big muff / bhcg / 419


giglinger top alcohol

top alcohol / play dead
(king Penguin winter 1997)
7″ single


I had forgotten about Giglinger, it’s been some years since I reviewed their Distortion+ MCD, where I dubbed their style as industrial goth punk rock. I remember to have been utterly confused about their sound, but with this new output I can at least feel a little saner.
200 bpm is still weird, but no way near as weird as its predecessor. Apparently it was originally released back in 2008, but now re-released for an international market. It was recorded on an old 8-track from the 70ies, and I think the influences from that decade shines through a little (but if it’s because of the 8-track or not I’ll left unsaid). I still find some similarities to Misfits, but the goth aspects of it are nowhere to be found, fortunately. It’s like a spastic 70s/80s punk style revisited, like if New York Dolls teamed up with the earliest of Dead Kennedys and the previously mentioned Misfits, possibly even borrowing a note or two from Iggy Pop and having a young David Bowie lend them a hand. It is just so freakin’ unheard of in today’s punk scene.
I can’t say this is my chosen style of punk, truthfully it’s pretty much as far from it as possible. But I do however appreciate the charming end-result of such a lo-fi style of playing, and the ‘fuck you’ to the modern scene. The production makes it hard to tell whether or not it’s a drum machine behind the beats, so I won’t even venture a guess. Riff-wise it’s fantastic in all of its simplicity and rocking aesthetics. The music’s hauntingly catchy, yet incredibly difficult to grasp. The opening track Dead wrong feels like it’d be a hit to put on during a party, in particular if it’s already been going on for a couple of hours and people are approaching the drunken stupor where they don’t mind making a fool of themselves and dance like crazy and scream at the top of their lungs. I’m not sure what to make of Giglinger, but they come highly recommended to people with an open state of mind. Music journalists with a deep knowledge of punk rock’s development should really go ape-shit over it.


Die älteren Semester unter euch erinnern sich vielleicht noch verschwommen daran, dass Punk früher einmal auch irgendetwas mit Rebellion und Verweigerungshaltung zu tun hatte. Damals dudelte noch kein weichgespülter Pop-Punk im Radio rauf und runter, es gab noch keine Nietengürtel bei H&M zu kaufen, und man hat als Band seine Platten selber für einen kleinen Kreis Gleichgesinnter veröffentlicht. GIGLINGER aus dem schönen Helsinki scheinen genau diesen alten Spirit nachzuleben und packen in puncto Verweigerungshaltung sogar noch einen oben drauf: “No gigs, no bullshit, just 4 song vinyl ep´s” ist die klare Ansage der Finnen, und diese wird auch konsequent in die Tat umgesetzt. Bereits optisch verzichtet man bei der mittlerweile vierten 7″-EP auf jeglichen Schnickschnack. Lediglich ein preisschildähnlicher Sticker auf der schwarzen Papphülle gibt einen Hinweis auf Band und Plattentitel. Wer weitere Informationen erhaschen will muss versuchen, brauchbaren Input aus der schwarz-weissen Bleiwüste auf den Schallplattenetiketten herauszufiltern. Und auch musikalisch sind GIGLINGER keineswegs auf Kuschelkurs, denn sie hauen einem vier live eingespielte, schonungslose Punk-Kracher in garagig-krachiger Aufnahmequalität um die Ohren, mit denen sie sich außerhalb der D.I.Y.-Punkszene bestimmt keine Freunde machen. Vor allem der letzte Song “Lies and the lying liars” geht voll auf die Zwölf und endet in einem Chaos aus Lärm und Rückkopplungen. Ich persönlich finde die Band und ihre Anti-Haltung auf eine gewisse Weise sympathisch, allerdings muss man schon mindestens auf der Anarchopunk-Wellenlänge liegen oder ein begeisterter Plattensammler sein, um mit diesem Tonträger glücklich zu werden.