We've updated our Terms of Use. You can review the changes here.



  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      €10 EUR  or more


  • Record/Vinyl + Digital Album

    Edition Trigger Cut/Buster----limited to 500 Copys

    Includes unlimited streaming of BUSTER via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    edition of 500 

      €20 EUR or more 


  • Compact Disc (CD) + Digital Album

    200 piece limited Edition

    Includes unlimited streaming of BUSTER via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days

      €15 EUR or more 


Hellcat Bob 03:25
Blind 03:24
Transfer 02:58
King Of Inks 03:43
Free Hugs 02:53
Pony Pony 03:49
Mute Driver 03:12
Westworld 04:43


11.01.2019: München // Kafe Marat
11.06.2019: Hamburg // Schute
13.07.2019: Dresden // Umsonst & Draussen-Festival
12.10.2019: Berlin // Urban Spree w. Trumans Water

Official Release Date May, 1th 2019.


released May 1, 2019

Recorded and mixed by Apollo IV at Razor Wax Audio in January 2019.
All Analog. Mastered by D.W.
Artwork by Frederic Bouchet/Sunrise Studios, France.
This Trigger Cut- Buster LP is dedicated to James Kimball
( Laughing Hyenas, The Jesus Lizard, Mule, Ghost Forest...) and
his loyal friend Buster. Thanx James!

Buster - Reviews:

Aeternal Flux II


Rock rhythm’s evolutionary war of attrition against melody/harmony has been raging since the 1980s/90s heyday of Swans and Melvins. Chalk up another victory for rhythm with German three-piece Trigger Cut’s 2019 debut album Buster. A modest victory: melody retains hard-won territory in this encounter. The dynamic focus of the power trio format gives a keener edge to its vestigial status while illuminating its continued necessity as dialectical foil.

Taking their name (seemingly) from a Pavement song, the Stuttgart-based trio delivers an eminently digestible collection of songs post-punk-skuzz-grunge-name your messthetic designation. Noise rock tropes come in ample measure and variety: stop/start rhythms and pummeling dynamics, distorted riffological severity emanating from treble-centric guitars, non-pretty vocals.

Lead singer/guitarist Ralph Schaarschmidt sounds like Stephen Malkmus, Steve Albini and Crocus Behemoth fighting for supremacy in a blender in the way King Buzzo can sometimes sound like a vocal cock-of-the-walk throwdown between Metallica’s James Hetfield and WWF hero/villain Randy ‘Macho Man’ Savage. It’s a constrained transatlantic yelp without much trace of local accent, most notably on ‘King of Inks’.

That song’s title suggests a connection to The Birthday Party’s ‘King Ink’. The titular monarch of Nick Cave’s song is an anthropoid synecdoche for creative frustration. Who knows what the King of Inks’ beef is? Lyrics made handily discernible for the song’s video don’t offer much in the way of enlightenment: ‘No fair. No flair’(?) The lyrical obscurity and vocal pastiche affectation bring a humour to Buster that both alleviates and enlivens the music’s more abrasive qualities. The combination puts Trigger Cut in the company of noise rock’s most postmodern pop-oriented travelers: Lubricated Goat, Butthole Surfers, Pixies.

Homegrown elements gleam more prominently in the trancey coda fade-out to ‘King of Inks’. Early 70s krautrock minor leaguers Silberbart and the bolero-style conclusion to their super stoopid stoner soul/proto-no wave freakout ‘Brain Brain’ comes to mind mind. Schaarschmidt’s guitar sound has a glassy brittleness not dissimilar to Gang of Four’s Andy Gill (as do a lot of noise rock guitarists admittedly), matched with the Plank/Hannett school of delay sculpture. Slapback echo on ‘I Know She Knows’ and alleyway reverberation on 'Free Hugs' suggest all manner of wired-up post-punk nihilism. There’s a brutal, tribal intensity to the verse riff-rhythm of ‘I Know She Knows’ that’s like Swans (or maybe Killdozer) jamming with Caspar Brotzman Massaker.

The Brotzman family heritage encompasses No Wave and avant-garde jazz synergies that occasionally emerge like a leviathan fin breaking the surface of public awareness. Trigger Cut aren’t as deliberate as The Jesus Lizard’s appropriation of the hyper-tensile, anti-melody line of Miles Davis’ ‘Great Expectations’ for Goat’s opening track ‘Then Comes Dudley’. But there’s a playful blending of styles in their sound that certainly promises the protean protoplasm that jazz exudes as marriage broker between blues and rock.

‘Hellcat Bob’ injects groove punk/metal (Fugazi/Helmet/Eyehategod) into liquid Shellac, and 'Blind' taps into a certain stratum of mutant rockabilly (The Cramps/The Fall/Pussy Galore) while retaining the bludgeoning menace of Big Black and Teenage Jesus. 'Pony Pony' evokes the 60s psych origins of post-rock and math rock, kissing cousins both to noise rock. Captain Beefheart’s Dadaist anthems of C&W sea shanty/ rock deconstructed as African guitar polyphony ('Moody Liz'/'Veterans Day Poppy') feeding into math rock (Slint/Don Caballero) and all its more melody/harmony-adjacent variations; for one, a variety of post-Sonic Youth angle-jangle that Polvo occasionally essay quite nicely thanks (hear ‘Virtual Cold’ from Celebrate the New Dark Age).

Highlighting Trigger Cut’s musico-dialectical positioning shouldn’t detract us too much from appreciating their own particular tributary. While steeped in a certain Touch & Go/Amphetamine Reptile Records heritage of adamantine post-punk exploration, they’re obviously aiming for a blend of styles that’s unique to them. The brevity and cohesion of Buster recalls some of punk’s short and sweet classics and highlights the crucial differences between fake punk (Do we need to name any? Okay, Blink 182/Sum 41 for their vapid names alone) and real punk (everyone mentioned here, and a few others: Dead Kennedys on 'The Miners are Back’). No one will tell what all this is about. But I will find out.

Thanx Jon and Aeternal Flux II


Thanks kindly to Ralph Schaarschmidt for introducing me to Trigger Cut, a band that sounds like The Jesus Lizard, Die Haut, and a reformed Big Black slowing their sound a bit into something more manageable, yet equally powerful, as their speedy stuff. This has punch.

Trigger Cut are a German noise rock trio featuring key ex-members of Buzz Rodeo and the drummer from Majmoon. Never heard of either? Me too but I’ve sure as hell heard a mountain of midwest born Touch and Go/Amphetamine Reptile assed 90’s styled noise rock and holy damn does Trigger Cut‘s debut ‘Buster’ buzz and clank its way through a fine, fine bump of classic noise rock sound. The bass could be uglier, the vocalist could lose his mind a bit earlier, but I was more than happy to dip my brain in their world for about 40 minutes or so. Dunno what it is about the guitar tone/effects on “Free Hugs” but I found myself jumping right to that song and sitting through “Pony Pony”, consider it the ‘meat’ of the record for my taste. Doesn’t come close to the affected sarcasm of say, Buildings this year but still fits alongside that heavier, bleaker sound.

Jedes der ausgefransten Riffs schleudert dich in den White Noise der 90er zurück. Ehemalige Mitglieder der leider eingestellten Buzz Rodeo prügeln wie gewohnt schlechtgelaunt auf ihre Insrumente ein und widmen das Album den legendären Jesus Lizard. Jeder der 10 Tracks ist ein Versuch in nervöser Zersplitterung un den Möglichkeiten was mit Feedbackgitarren im Kontext von Rockmusik möglich ist: manischer, englischer Gesangsvortrag am Kraterrand der Hysterie, berserkendes, jazziges Bass-Spiel und zähnefletschende, körperliche Gitarren-Exzesse aus der Folterkammer rauchender Amps. Verquer, altmodisch und komplex schultern die Instrumente das gekonnte Mißhandeln gekonnt. Ein Bastard aus Shellac, Helmet und den relevanten Blunoise-Bands.

Trio fondé entre Stuttgart et Munich, Trigger Cut joue un noise rock qui parlera à coup sûr aux amateurs du genre. Avec des influences palpables venant d’Unsane, The Jesus Lizard ou encore de Metz, les allemands ne sont pas là pour enfiler des mélodies sucrées mais pour délivrer le maximum de bruit possible avec une féroce énergie et une bonne dose de tension.

Particulièrement rugueuses, les dix compos de Buster, leur premier album, nous ramènent directement dans les années 90’s avec ces rythmiques assez complexes menées par une guitare au grain bien métallique, une basse groovy la suppléant de manière mécanique et une puissante batterie apportant le reste de l’énergie. Et tous trois sont d’accord pour occuper l’espace au même niveau. Le chant est lui éructé, un peu noyé dans le mix mais parfait dans ses dynamiques avec parfois quelques réminiscences de Patrick Kindlon (Drug Church) dans ce phrasé presque parlé (flagrant sur le très bon « Mute Driver » par exemple).

Derrière l’intensité dégagée, on peut déceler une aura punk, voire garage avec de temps en temps quelques nuances comme les quelques arpèges en fin de « Transfer », l’excellent refrain (à reprendre en choeur) « Free Hugs » ou le caractère plus haché de « I Know She Knows ». Bref, on tient là une très bonne découverte chaudement recommandée aux amateurs de noise rock nerveux et inventif.

Trigger Cut are a German Post Punk Trio that musically move into the high risk uncharted territories of original innovative punk, which can be hit or miss when striving to enter waters unexplored.

Punk Music was always a medium that can be used to express anxiety as is the case with “Buster” where a high tremble guitar combined with pain drenched spoken word vocal shares pain while simultaneously keeping you on edge of a precipice leading to places unknown.

Hitting unused chords and notes yet with mechanical rhythm, this album it takes you into a dark head mince that needs no video or visual stimulation.

The suffering vocal and eclectic bombardment of noise has something of a truly beautiful adventure within, and its ability to keep the mystery enduring through the album entirety comes from fear in the listener which is genuinely terrifying in its unpredictability .

Avant-garde is always a dangerous game in music. Trigger Cut are could be deemed dangerous yet curiously do not alienate, all the while contrarily absorbing you deeper into their dark view and thus creating a strong bond between band and listener.

This is a master stroke of musical genius and although you will probably break a few teeth and have some mouth bleeding on first taste, stay with it, a new style of punk music is being born.

Angular guitar-riddled post-punk with hardcore yell-talking vocals? I’m there!

Trigger Cut is a German trio of modernist punk clangers and Buster is their debut full-length of disorienting noise and dismantled rawwk.

Available on vinyl, CD and digital, Buster finds the band taking the absurdist punk mutations of the avant-garde classic Doc at The Radio Station by Captain Beefheart and pushes it through the sludgy and jagged lenses of bands like Big Black and the Melvins. The resulting sound transfixes, shocks and batters your senses all at once.

Every track here just rips and veers off into completely unexpected directions. Then again, the closing track,“Westworld,” starts within atypical territory right off the bat. The song begins with a nearly mechanical riff that’s set to a strange time signature. As the piece progresses, the band rocks out with nerve-jangling textures and unhinged wailing, which creeps under your skin. The whole track begins to feel very claustrophobic and feverish, making it feel like the ending will never come. However, when the song does in fact actually end, it reaches a weirdly conventional rock and roll climax. This sudden break into normalcy is perhaps the weirdest and most jarring aspect of the entire album. It just sneaks up on you out of nowhere. I love it.

Like an aggressive Judith Godwin painting turned into sound and then fed through a stack of razor blade-filled amps, Trigger Cut’s record is murky, barbed and takes some repeated visits for it all to make perfect sense.

Trigger Cut is a German trio risen from the ashes of Buzz Rodeo. I found them simultaneously via scrolling through Bandcamp listings and postings from their enthusiastic guitar player on the Facebook Group Noise Rock Now. This is their most recent release. If I didn’t read the bio, I’d never know this was a product of fine German engineering. It’s got a certain “American” familiarity to it, and the vocals rarely betray any hint of an accent.

The album has an excellent mix that is neither too heavy or too bright, but rather somewhere perfectly between. The guitar has an excellent top-end grit to it and wisely leaves the low-end to the bass and kick drum. It’s an edgy sound, but not brittle or shrill. I think it’s pretty rad, with nicely articulate chords and runs alike, surprisingly having more in common tonally with a surf-rock band than the more metallic crunch of bands like Helmet or the fuzz overload of bands like Whores. The aforementioned bass isn’t too bottom heavy either, but it’s got enough to solidify the tunes. It’s a mid-heavy approach that lets each and every note shine through with ease instead of getting lost in the low-frequency mire that I also equally adore. The drums sound great with plenty of attack and body, and thanks to the mix of the guitars and bass, each hit rings loud and true. In keeping with the theme, the vocals sit in a good spot, neither too buried or prevalent, a tuneful shouting that works well, sometimes breaking up into a raw scream.

Trigger Cut delivers a nice blast of energy and tension on this record, and I’d recommend it to folks into stuff like The Jesus Lizard and Shellac, but it could also appeal to folks into stuff like At The Drive In or Quicksand thanks to the anxiety inherent in the song structures and some of the vocal hooks. Check it out! – Jason

Hellcat Bob – The record opens with feedback and rumbling drums before a bass groove sets in. The guitars eventually pile on, as do the vocals, and the quiet-loud dynamic is put to task as the verses ease up between the more raucous blasts of the chorus. I love the big hook that comes in a little after the two-minute mark (reprised at the end)! The double-time ending is also sweet and ends the track on an urgent note. Cool.

Blind – I love the bass/guitar call and response that opens this track! The chimey ring of the guitars imparts a bit of Duane Dennison on this track and that’s alright with me! I’m nodding along and stomping my foot as the band lurches onward. The chorus blooms nicely and I’m loving these bass slides in the staccato bits. The rambling vocal also brings an urgency and honesty to the tune that I’m really digging. Thumbs way up!

Transfer – This song opens with something that reminds me of a band like Since By Man before slogging back into an uglier, more jagged verse. I’m still banging my head and I’ve got a bit of case of stink-face. The post-chorus guitar bit is a bit of post-rock beauty in a pile up of ugly noise. The vocal trailing off after the band stops at the end is a neat detail that gives the track a raw, basement authenticity. Dig it! Thumbs up!

King Of Inks – The Big Dumb Groove® bounce of the verse catches me off guard on this track, and I love how it’s offset with the more expected dissonance of the genre. This is another fine head-bobber of a tune. It’s catchy and it rocks. It’s a little more “accessible” than the preceeding tracks, but that’s alright Good stuff.

Free Hugs – Heck yeah! This one is a rocker. The guitar takes on a meatier presence at times, and the insistent battering of the snare during those same passages makes this the “heaviest” track on the album thus far. Dig it!

Pony Pony – The opening drum beat brings to mind John Stanier in my mind, and I love the little stick-on-stick percussive details in this “quiet” intro. The singer’s annunciation of the word “pony” throughout is another rare hint that these people didn’t grow up in a suburb of Chicago, and I like it. Otherwise, it’s more of the same and yep, I’m still bobbing along to the endless grooves… Cool.

The Miners Are Back – The pounding groove of this track has me once again thinking of some post-hardcore bands that I listened to in the late 90s and early aughts. This track is alright. There’s nothing wrong with it, but it’s not as strong as the rest of the record. I do like the more urgent moments of the tune. The ending is actually pretty rad, reminding me of Refused a bit. So yeah, it’s ok.

Mute Driver – The quiet-loud build through what comes to be the verse is solid and the song keeps chugging along from there. The part has a “sea-sick” sort of flow it, ebbing back and forth between the more battering chorus. I dig it. It’s a cool song.

I Know She Knows – I love the hypnotic churning of this track from the rip with the bass immediately setting the stage and the guitar squawking in accent. The start-stop aspects of this song give it a nice splash of uneasiness, as does the warbling vocal. The double-timing near the end is always gonna get me excited so… yeah.. Thumbs way up!

Westworld – The album closer opens with a start-stop sort of bass lick that inspires erratic head-bobbing of the highest order, accompanied by string noise and sustained chords blooming into feedback. This song winds up having a bit of a slow-burning vibe to it, that unleashes nicely – especially in the latter half of the song. Rock!

Anciennement connu pour ses méfaits avec Buzz Rodeo, Ralph Schaarschmidt s’est acoquiné avec de nouveaux musiciens pour former Trigger Cut, auteur cette année de son premier album Buster. Le trio allemand, composé également de Sascha Saygin et de Daniel Wichter, exulte avec âpreté dix compositions dans la lignée du noise rock originel.

Pour son premier essai, Trigger Cut affiche clairement ses références à la scène rock américaine de Chicago et Seattle. Ses guitares asymétriques, auréolées d’une batterie et d’une basse subtilement syncopiques, raviront les fans de Melvins, de The Jesus Lizard ou encore de Shellac (Blind). La qualité d’exécution de Buster fait mouche, tant que ses titres font preuve d’une certaine complexité sans perdre en efficacité (Pony Pony). Au delà de ses tendances bruitistes, le groupe dégage un charme mélodique aussi bien par ses distorsions variées que par la variété de ses riffs (King Of Inks). Il n’y aurait qu’un pas à franchir pour affirmer que Trigger Cut possède un aura rock and roll, finalement dispensable à l’écoute de la voix de Schaarschmidt. Plus proche de la déclamation que du chant, cette dernière confirme l’empreinte nihiliste du groupe pourvu d’un certain sens de l’humour (Free Hugs).

Si il ne constitue pas un album révolutionnaire, Buster s’apprécie par ses nombreuses aptitudes, faisant de Trigger Cut le nouvel eldorado du noise européen.

L’album d’esordio del gruppo noise rock tedesco Trigger Cut si potrebbe definire come una vecchia muscle car scassata e rumorosa, ma comunque sempre pronta a regalare grandi emozioni e soprattutto a farsi notare nel bene come nel male. E infatti Buster – titolo che sarebbe dedicato ad un bulldog chiamato appunto “Buster” – con le sue schitarrate che fanno su e giù alternando rallenti e ripartenze improvvise crea dei contrastanti sentimenti di amore e odio che rischiano sul serio di generare presso i cultori del genere più di un dibattito sul reale valore di quest’album.

Ad ogni modo i tre teutonici sembrano avere le idee chiare almeno per quanto riguarda le loro fonti d’ispirazione, tra i quali indichiamo gruppi come i Shellac e Jesus Lizard, puntualmente citati nel base sound minimalista e ripetitivo che non disdegna però incursioni nell’hardcore generando canzoni (per esempio “Free Hugs”) dove tecnica, assoli ed accelerazioni lasciano decisamente il segno.

Insomma Buster è da ascoltare almeno una volta, cercando magari di evitare di farsi prendere dal panico soprattutto quando partono pezzi come “Pony Pony” e “Mute driver”, che malgrado il modo squinternato nel quale vengono eseguiti sembrano proprio dedicati ai fan di band quali Kyuss, Fu Manchu e Rage Against The Machine.

Aus der Asche der großartigen Buzz Rodeo sind Trigger Cut aus Stuttgart und München hervor gegangen. Im Prinzip formierte sich eine neue Band um Gitarrist und Sänger Ralph, mit von der Partie ist unter anderem der Drummer der Münchener Band Haikkonen. Soundtechnisch ist das Ganze nochmal ’nen kleinen Ticken knackiger geworden. Soll heißen, dass durch die Rhythmusmaschine aus extrem fuzzigem Bass und kraftvoll geknallten Drums gepaart mit dreckigen Gitarrenriffs und dem wütenden und am Rande des Nervenzusammenbruchs bewegenden Geschreis eines irren, manischen Psychopathen ordentlich Druck aufgebaut wird. Es dröhnt und pumpt gewaltig und mächtig an allen Ecken und Enden. Schlagzeug, Bass und Noise-Gitarre bilden das stabile Grundgerüst, hinzu kommen angeschrägte und etwas dissonante Gitarren, die schön noisig auf die Kacke hauen. Natürlich geht das nicht ganz ohne Rückkopplungsgeräusche und das ein oder andere schmissige Gitarrenriff über die Bühne. Die zehn Songs erinnern aufgrund des rohen und knackigen Sounds und der Intensität natürlich unweigerlich an 90er-Bands wie z.B. The Jesus Lizard, Drive Like Jehu, Shellac, frühe Lack oder aber auch an deutsche Noise-Bands wie Craving oder eben Buzz Rodeo. Wer auf diese Art Musik steht, kommt hier voll auf seine Kosten!

If people listened to music with as much care as Trigger Cut have put into Buster, the world of music would be a very different place.

Trigger Cut are hard hitting to say the least. The drums pack an intense energy behind the high guitar tones which allow for the bass to really punch through. The result is a sound dealing nothing but brute force without the need for any over-engineering and a uniquely raw punk rock experience. The rough and ready vocals perfectly round off the resounding tension with only small doses of any form of melody.

Buster doesn’t give away easy listening hooks for those who play it safe with spoon fed pop tracks that Spotify rams down your throat, but instead is an album you need to feel the energy to receive the rush. The erratic melodies and beats are deeply satisfying when you get lost within them, stepping up the listening experience from a noisy mess to a rough audio bliss.

The hooks are incredibly unique, whether it’s shouting along with the “Free Hugs”, the dark Sonic Youth-esque I know She Knows or the surprisingly complex content to the more melodic Transfer, there is such a consistent level of abnormal styles and quality that your average listener would let most of the detail fly by.

Simply put, Buster is an album that at a glance is a bizarrely noisy thrashing from start to finish, but in reality offers a lot more than a few play throughs will give to you. Safe to say, this is an album that deserves your attention for the creativity behind it, in which case everyone will be happy for at least half an hour.

fter the split of BUZZ RODEO, singer/guitarist Ralf had formed instantly this new threepiece Noise-Rock unit, continuing the sound of BUZZ RODEO in a fierce energetic and aggressively rocking way. Their debut-album features 10 tracks, heavily influenced by the sounds and styles of JESUS LIZARD, with nods to UNSANE, BIG BLACK, RAPEMAN, SHELLAC, DISTORTED PONY, and other late 80s/early 90s Noise-Rock heroes... Comparable to bands like TEN VOLT SHOCK or METZ. Selfreleased by the band, available as 180-vinyl LP with CD-version included, or digipak-CD only.

Trigger Cut are a new band formed by the members who previously played in Buzz Rodeo, art punk / noise rock band from Germany who were pretty much active for four years, from 2014. till their disbanding sometime in 2018. They left impressive discography behind in their short career such as split material with a band called Peru, Victoria 7”, Sports LP and Combine LP. Trigger Cut is continuing the experimental journey through a beautiful world of noise rock, but there’s a lot more to it. It seems these guys are putting a lot more efforts to go down into experimental waters than staying onto already paved path of their previous band. Guitars are much cleaner, over-distorted and covered with a bit of delay effect which goes great with chunky bass lines and ridiculously good drumming. The guitar sound and riffs itself reminded me a lot of those played by the Gang Of Four on their infamous album called Entertainment!, but not in that copy / paste way. These guys know how to deal with their music, they’re putting a lot of their ideas into music, but they’re not stopping there. Vocals are transmitting all the raw energy, emotions and rage through oftenly hysterical screams and sorta desperation presented through the singers vocal cords. Trigger Cut are obviously huge lovers of the post-punk, grunge, noise, stoner, sludge music because you can hear the presence of all those genres in their music, but the band is filtering out all of them and express in their own artistic form. Trigger Cut are incorporating only the best of each genre they love and play it with a lot of more energy involved, so whoever loved Buzz Rodeo for their conceptual artworks and music played in such a distinctive art form, will love Trigger Cut as a band even more, because of their visible improvements and upgrades in sound and visual concept. Buster LP comes with a The Musician Brawl, a painting of Georges De La Tour as cover artwork, so that was a change in a concept of a band that I was talking about and I must admit it goes well with Trigger Cut’s music. Vinyl is available directly from a band at their bandcamp page, but you can also purchase a CD or download it for a reasonable price if you are much more into digital music.

Quello dei sottogeneri "locali" è un universo mappato in maniera spesso aleatoria: pur non figurando nei dizionari critici, molti di essi diventano veri e propri standard di riferimento. Esiste il "Chicago noise", o si tratta di un'allucinazione collettiva dovuta allo strapotere simbolico albiniano? Fatto sta che una matrice comune tra i vari Shellac, Jesus Lizard, Shorty, Big'n (questi ultimi tornati a sorpresa l'anno scorso) e compagnia dissonante è più che ravvisabile, ed è ormai impossibile non associare la sagoma di una Travis Bean a quelle trame spoglie e abrasive: quando sotto i denti ti capita una chitarra d'alluminio piegata da un basso d'acciaio, una batteria ripresa con almeno una dozzina di microfoni e una voce affogante sotto il pelo dell'acqua, sai cosa stai mangiando.

I Trigger Cut, guidati dall'"Angular high treble guitarist" Ralph Schaarschmidt (ex-Buzz Rodeo), si crogiolano in quell'immaginario con tale rigore filologico da potersi spacciare in scioltezza per un trio del Midwest, il che è abbastanza sorprendente dato il loro passaporto teutonico (tra Stoccarda e Monaco, per l'esattezza). Incisione su bobina, riverberi naturali, mix che pare uscito dritto dritto dal banco dell'Electrical Audio e un'esplicita dedica a Jim Kimball lasciano poco spazio all'immaginazione. E anche i titoli dei brani, a livello prettamente fonetico, non scherzano: "King Of Inks" non potremmo trovarla in una tracklist, chessò, degli Steel Pole Bath Tub? "Pony Pony", invece, non ve la aspettereste tra le lerce mani dei Killdozer? Una cosa è sicura: a dispetto del nome, i Pavement da queste parti non c'entrano granché.

In ogni caso, la personalità non manca: affiatati strumentisti e compositori, i crucchi portano a casa un più che onesto tributo ai propri idoli, con molta deferenza ma poca piaggeria: calcolando la comatosa agonia del genere in questione, è già un trionfo. D'altronde, quantomeno all'orecchio, non è forse preferibile una maniera ben congegnata, rispetto a un opaco guazzabuglio con pretese di originalità?

TRIGGER CUT – Buster – This is good, this is very good, they said they were loud but then surely every band is loud if you turn them up enough, get what they mean though, they sound loud, Trigger Cut, they’re from Germany, that don’t sound like they’re from anywhere in particular, they sound like loads of bands who hung around Camden towards the end of last century, they sound like Homage Freaks or Anorak Lovechild or Red Eye Express or Kodiac or those Scissormen or a whole load of great bands that time forgot. Trigger Cut sound like the back room of the Bull and Gate or the Falcon, hell, they sound like the Sausage Machine, but this isn’t 1992 and Trigger Cut are from Stuttgard or maybe Munich, they got that Jesus Lizard thing going down, that Drive Like Jehu thing, that Big Black sound that launched a thousand bands, none of them were remarkably different, most of them could be excellent live of those backroom of Camden or where you happened to spend your backroom time. You know the score, you don’t need a review, you have the Bandcamp there, go listen for yourself

Trigger Cut is a three piece band from Stuttgart/Munich, Germany who formed in 2017. Trigger Cut features members of Buzz Rodeo, so going on that alone, you know you're in for something truly awesome. Trigger Cut play a killer style of music that incorporates elements of punk, post punk, grunge, and noise rock within their sound. Musically, Trigger Cut can be loosely compared to bands such as Drive Like Jehu, Hoover, The Jesus Lizard, Big Black, Cherubs, 12 Volt Shock, and other like-minded bands. Buster is Trigger Cut's debut LP, which is slated for release on May 1st, 2019. On Buster, Trigger Cut offer up ten songs of tense, angular, and moody punk, post punk, grunge, and noise rock. Overall, Buster makes for an amazing listen and definitely should not be missed. Highly recommended! Enjoy!

The debut album by this three piece is pretty damn awesome. The German noiserock trio Trigger Cut will send their new LP ‘Buster’ into the world on May 1.
‘Buster’ is a mix of punk and noiserock that possesses an agressive energy and with enough groove to make this an absolute kicker of an album.
Tune in and check out ‘Buster’ by the energetic trio Trigger Cut.
Favourite track: Free Hugs

We (the collective "we") have come to count on Ralph Schaarschmidt to bring us the finest German noise rock, by way of Chicago's finest forges, for the past few years. Recently it was Buzz Rodeo, but now we're dealing with Trigger Cut. Which, if you liked the former, you're going to be excited by the latter. It's essentially a continuation, or refinement, of that pent up, nervous energy, staccato push-and-pull pelting. And while one (the collective "one") would be remiss to not acknowledge a very subtle rhythmic melody trying desperately to rise above the clanging guitar scree, and the galvanic roil of the bass and drums simultaneously building and up and toppling the song's riffs, the basic sense of Trigger Cut is urgency. An uneasy urgency that's driving you somewhere. Where? Off a cliff? Through a wall? To hell? Hold on and let it ride.
I highly recommend this one, it's a really great representation of the ideal "noise rock" paradigm circa 2019. It scratches that itch with aplomb. Or, an A-bomb. One of those.

Die beste deutsche Noiserock-Combo Buzz Rodeo ist jetzt wohl nicht mehr, aber ihr Mastermind Ralf Schaarschmidt hat schon längst ein neues Powertrio am Start. Deren Debütalbum kann man vom ersten Takt an eine rasiermesserscharf fokussierte, klare Vision attestieren - es besteht nicht der geringste Zweifel, dass alle Beteligten genau wissen was sie vorhaben und wie sie das in die Tat umsetzen. Eine hochkonzentrierte Attacke aus Noiserock, die vor allem alte Hausnummern aus den frühen Neunzigern, späten Achtzigern in Ehren hält - Bastro, Dazzling Killmen oder Distorted Pony haben da sicher Spuren hinterlassen. Ein leichter Albini-Faktor ist da auch an Bord, ich denke hier aber vor allem an Rapeman, weniger an die beiden bekannteren Acts. Und auch aktuellen Lärmerzeugern wie Multicult und Buildings steht das manchmal nicht ganz fern. Brilliantes Zeug!

Wer gern Bands wie SHELLAC, SWANS oder MELVINS hört, sollte jetzt die Ohren spitzen. Quasi aus der Asche von BUZZ RODEO auferstanden, hat sich mit TRIGGER CUT eine brandneue Noise Rock/ Post Hardcore Band formiert, die auf ihrem Debütalbum BUSTER ein Klangfeuerwerk abbrennt, das sich in ins Gedächtnis spielt und jegliche Energie im Körper wecken kann. Dieses Trio klingt so verrückt und abgefuckt, als hätte man einen Aronofsky Film, unter dem Einfluss verschiedener Psychedelika, vertont.
Wenn ihr bei dem aktuellen Wetterumschwung mit überflüssiger Energie zu kämpfen habt, solltet ihr schleunigst diesen Noise Rock Gourmetbrocken anwerfen. Der instrumentelle Wirbelwind, den TRIGGER CUT vom Stapel lassen, ist wirklich fantastisch. Ein wilder Ritt durch verschiedene, musikalisch angepasste, Stimmungslagen wird geboten und Vor allem die Basslines wissen hier zu gefallen. Die teils verrückt herumschreienden Vocals, geben den Songs einen unnachahmlichen Touch, den man besonders von Bands aus den Anfangstagen des Genres, wie zum Beispiel SLINT, kennt. Gerade WESTWORLD, der letzte Track, wäre da zu nennen.
Obwohl die Strukturen für den Laien, anfangs, ein wenig chaotisch wirken müssen, entfaltet sich nach und nach ein roter Faden, der den Hörer durch das Album begleitet. BUSTER liefert zudem eine Unmenge an noisigen Gitarrensounds, die, gelegentlich in markanten Parts enden, die nicht mehr aus dem Kopf gehen wollen.
Offizieller Releasetermin für diesen Geräuschorkan ist der 1. Mai. Geboten wird Vinyl- oder CD-Version, die, in guter alter Diy Manier, auf Eigenregie basiert. Von meiner Seite aus, gibt es eine klare Kaufempfehlung, denn BUSTER darf in keiner Sammlung eines jeden Noise Rock Fans fehlen. TRIGGER CUT haben mit BUSTER, ohne Wenn und Aber, eine der besten Noise Rock Records veröffentlicht, die wir in den letzten Jahren zu Ohren bekommen haben. Dank furiosen Instrumentals, abgefahrener Songstrukturen und einer Unmenge an übertragbarer Energie, wird sich diese Scheibe garantiert ihren Weg in einige Best Of Liste bahnen können!

‘Buster‘, the debut LP from German noise rock band Trigger Cut, reminded me of how it felt to drive this piece of shit ’87 Mazda I drove in the late 90s. It stalled on me once when I was turning across a four lane road, leaving me staring at a lot of oncoming traffic, thinking I really might die. I never had any money so I only ever refuelled when the light came on, making my palms sweat. Even if I was driving on a sunny day with the windows down and a tape playing loud, or talking to a friend on the way to or from seeing some band play, I could never fully relax in that thing.
Trigger Cut reminded me of that tense feeling. That’s a compliment. Every feeling should have art that can accompany or express it. One way ‘Buster’ builds tension is that the guitar phrases are often played in the guitar’s low to middle range then end with a short high part for a moment, a sudden contrasting clang or shriek after a lot of thudding.
The songs start and stop, shuddering and stuttering along, usually building up to some clattering, crashing intensity, with the singer shouting loud. It’s not a macho tough guy hardcore shouting. It’s more like voice cracking, crazy guy on the bus shouting, like something might really be wrong. It’s unsettling. It fucking rules.
In terms of other bands that are sort of similar, I bet the Trigger Cut dudes own a lot of Shellac, Jesus Lizard and METZ records. Trigger Cut don’t sound like those bands, but they sound like they could tour with and would go well on a mixtape with those bands. If you like those bands, you’ll like Trigger Cut, and if you don’t like those bands then your tastes are garbage. Like those bands, the music on ‘Buster’ is repetitive in a minimalist sort of way – deliberately playing the same things for a while for effect, not because that’s all they know how to do. The guitar tends to have a fair amount of reverb on it, providing some more texture and taking up some more space.
Some noise rock that’s more hardcore influenced pummels you without letting up. I’m into that, but it can make you get a bit numb. Trigger Cut gives you some breathing room, and by doing so it gives the music more power. Some of the instruments cut out sometimes, or the guitar will ring some chords or play single notes to let some space open up. But then it rushes back into that space, often swelling high pitched scratch reverbed guitar and screeching, with the drums and bass banging loud and relentless underneath. The breathing room builds rather than releases tension. It’s like the crazy dude on the bus that sits right next to you then moves to the back of the bus, then sits by you then moves away again. You keep an eye on him and don’t feel calm with the momentary space he opened up, and the bus is rolling so you’re stuck in that space.
The songs don’t have especially quick tempos but I can tell that in some parts everybody’s playing their instrument really fast. That adds to the tension, like the crazy dude on the bus has quit screaming and sat down, but is tapping his feet and drumming on his lap real jittery, occasionally muttering and shouting and squawking, like he’s fighting so hard to keep it together, giving it everything he has trying to stay seated. The music feels like it might take off, fly off into the sky in a random direction or fall apart entirely without warning. I can relate to that, my life feels like that a lot. It’s nice for that uncertainty to have such a great soundtrack.

The Liberator (UK):
Trigger Cut from Germany are one of the top 5 noise rock bands in the world. There are the expected hints of Shellac, Melvins, and Jesus Lizard, but also detours to echoes of artier rock like Henry Cow and Crispy Ambulance. Fucking Awesome! (Eric Baylies)

Erinnert sich jemand noch an die hier sehr geschätzten Noiserocker Buzz Rodeo? Mit Sports und Combine haute uns die Stuttgarter Truppe zwei der besten Noise und Posthardcore-Scheiben des aktuellen Jahrtausends, wenn nicht gar darüber hinaus, um die Ohren. Leider zerstritt sich die Band während der Tour zu Combine und so wurden Buzz Rodeo nach viel zu kurzer Zeit wieder ad acta gelegt. Zum Glück gehört Ralph, Frontmann und Gitarrist der Band, zur Sorte Stehaufmännchen. Während viele mit dem Schicksal hadern würden, war für ihn von Anfang an klar, der ewige Kreuzzug gegen die durch und durch plastifizierte Chartsmusik muss irgendwie weiter gehen. Und wie! Der neu gegründete Bastard hört auf den Namen Trigger Cut und mit Sascha und Daniel hat er an der Rhythmusmaschine zwei kompromisslose Mitkrieger gefunden. Wie schon bei den seeligen Buzz Rodeo, gehts auf Buster, dem neuen Longplayer, ziemlich heftig zu Werke. Sägende Gitarren, furiose Drums und fiese, manchmal an einen alten Dieselmotor erinnernde Bassläufe vereinen sich zu einer 35 minütigen, lauten und ziemlich energetischen Noiserock-Orgie, die ultrapräzise auf den Punkt gespielt ist. Keine Sekunde zu lang und Schnörkel gibts erst recht keine zu finden.
Freunde von Steve Albini und David Yow dürften, ja sollten, nun stundenlang vor Freude im Kreis springen. Buster ist nicht weniger als ein weiteres Album von Weltformat, dass da aus dem Süden Deutschlands auf die Menschheit losgelassen wird. Absolute Empfehlung.

Phoenix aus der Asche, die Metapher drängt sich in dem Fall förmlich auf: das Stuttgarter Noise-Rock-Trio Buzz Rodeo um den unermüdlichen Band-Motor Ralph Ralph – a musician so nice, you have to spell him twice ! ;-)) – ist im vergangenen Jahr während einer laufenden Konzertreise aufgrund persönlicher Diskrepanzen zum allseits großen Bedauern den Weg alles Irdischen gegangen, mit neuer Begleitung, neuem Namen und mächtigem Ingrimm kehrt der Gitarrist mit der imposanten Barttracht und der lauten Ansprache zurück in den Ring, beim Comeback unter der Firma Trigger Cut wird er vom Münchner Haikkonen-Drummer Sascha Saygin und Bassist Daniel Wichter kongenial begleitet.
Zehn weitere Tonal/Atonal-Attacken also, auf dem in Kürze erscheinenden Band-Debüt „Buster“. Die neue Rhythmus-Abteilung gibt mittels virtuosem wie stramm zuschlagendem Trommel-Takt und dröhnender, scheppernder Bass-Wucht bereits gewaltigen Druck auf den Kessel, mit Pascal-Werten kurz vor dem Bersten, die Nummer zum Explodieren bringt Frontmann Ralph mit einer geschliffenen, kompromisslosen Härte in den ruppig angestimmten Gitarren-Akkorden, die Rasiermesser-scharf, wie unnachsichtige Hiebe mit dem Ochsenfiesel auf die sinnliche Wahrnehmung einschlagen, erschreckend und Nerven-anspannend wie unvermittelt aufflammende Suchscheinwerfer an verwüsteten Kriegsschauplätzen. Ausschmückende, ergiebige Soli sucht man im Alternative Rock von Trigger Cut vergebens, die staubtrocken angeschlagenen Stahl-Saiten suchen die Balance zwischen ruckartigem, abgehacktem Stakkato und einem permanent drohenden Hinüberkippen ins verstörend Dissonante. Um Schönheit im landläufigen Sinn geht es hier nicht, „Sänger“ Ralph Ralph will vielmehr der ungebändigten Wut Stimme und Ventil geben, bevor sie das Innerste zersetzt, mit unverstellt in die Welt geplärrten und geblafften Parolen, kurzen, griffigen Ansagen, nicht selten einen ohnmächtigen, inhaltlosen Schrei der Verzweiflung mit Nachdruck hinterherjagend.
Mit Neusprech-Firlefanz wie „Noise Cancelling“ oder ähnlichem Gewäsch mögen sich andere in diesen Zeiten der zunehmenden Hektik und des Furors auseinandersetzen, das Ding des Trios ist derlei nicht im Entferntesten, Trigger Cut wollen laut, heftig und eindeutig sein, auf „Buster“ bleibt es nicht beim Wunsch, hier werden in Sachen tonale Interpretation des täglichen Wahnsinns massive Pflöcke eingeschlagen: das auf Tonträger gepresste, lautstarke Empören über eine Welt, die in vielen Belangen mehr und mehr der völligen Verblödung anheim zu fallen scheint. Weit mehr energischer ist Entsetzen kaum vorstellbar in Noise-Rock-Songs zu skizzieren.
Das herrlich lärmende Songwriting des süddeutschen Trios ist auf Weltmarktführer-Niveau und muss sein Licht weder vor dahingeschiedenen noch aktiven Formationen aus dem Kanon der alternativen und unabhängigen Krach-Musikanten unter den Scheffel stellen.
Das geneigte Münchner Konzert-Volk durfte sich bereits im vergangenen Januar bei der Live-Premiere im Kafe Marat von der erschütternden Kompromisslosigkeit dieses brachialen, aus Postpunk, Noise und No Wave geborenen Mördermonsters überzeugen, der Rest der Welt hat demnächst per Konserve Gelegenheit zur anregenden Gehörgang-Spülung – „Buster“ kommt in Eigenregie als DIY-Release Anfang April im CD-Format und passenderweise am „Tag der Arbeit“ zum 1. Mai in einer limitierten Vinyl-Auflage von 500 Stück jeweils über die Online-Plattform Bandcamp zugestürmt. Greifen Sie beherzt zu, wie es auch die Musiker auf diesem Tonträger tun. Und dann, bitte: play it loud !!!


all rights reserved





Ralph Ralph-Angular High Treble Rocket Guitar
Daniel W-
Low Bass Frequencies
Mat Dumil

Three Piece Noise Rock Unit
... more

contact / help


Streaming and
Download help

Redeem code

Report this album or account

If you like TRIGGER CUT, you may also like: