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ROGO

by TRIGGER CUT

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    Trigger Cut-Rogo. Second Deluxe Edition , 180 g.,marbled Gold Vinyl or slight Gold Vinyl!! Die Cut Cover, new Cover artwork/colours,with light gold embossing -250 copies here on Bandcamp!! Vinyl Only!!

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    Strictly limited First Edition Vinyl of 240 copies here on Bandcamp!!!!!!!, 180 gr. black Vinyl,
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    Art Design and Layout by Mark Zweck, Berlin.

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1.
Solid State 02:14
2.
3.
Transmitter 04:10
4.
Oxcart 03:41
5.
6.
Fireworks 03:56
7.
8.
Regular Funk 01:41
9.
Nutcracker 03:29
10.

about

Made with Heartblood, Love and Noiserock Soul during the Covid-19 Pandemic.. YESSSSSSSS.
10 brandnew Songs for our beloved Fans all over unique Planet Earth.

Ralph Ralph - Treble Guitar and Vocals
Daniel W. - Bass Guitar
Mat Dumil - Drums

credits

released March 1, 2021

Recorded late 2020 by Daniel W., at Under the Surface on 16 Track Analog.
Mastered by Carl Saff at Saff Mastering, Chicago.
Release Date 03/01/2021 depending on the Pressing Plant and the Pandemic Circumstances.
Vinyl will Shipped out as soon as possible.

www.iyezine.com/trigger-cut-rogo
thanxxx :-)

Il trio tedesco di Stuttgart, dopo l’eccellente prova di Buster (2019), persiste nel dar voce alla propria visione musicale non convenzionale – e meno male! – che aumenta la propria forza sonora in modalità raw and alive, un’espressione mutuata da un disco editato dai Seeds (from the first psychedelic Era) e adattabile a questo nuovo e pervicace episodio dei Trigger Cut!

Durante lo sciorinamento della sfrontatezza ferruginosa ed eversiva, è opinione condivisibile che i suoni taglienti prodotti dagli strumenti, a cui fa capo anche l’influente e delirante voce, siano individuabili singolarmente nel loro battere e nel far sentire l’afflato rabbioso e disperato enunciante un contenuto che deve colpire, scalfire, e che vuole penetrare nel modo più autentico e passionale possibile nel cuore di dei fans. Altrimenti questi pezzi, dei nostri cari amici tedeschi, non avrebbero ragione di essere. Anzi, potrei asserire che i Trigger Cut assomiglino a una catapulta da cui scagliare i nostrani Asino addizionati dall’appeal incendiario dei Rage Against The Machine (perché qui abita il noise da capogiro, Regular Funk), dove deflagrano dagli inferi trame oscure (Coffin Digger) poste tra rock, punk, HC e grunge, certe di animare discese e impennate sensazionali, sebbene ci sia molto altro all’interno di questo lavoro che farebbe declinare su altri ascolti: per esempio i Fall, Tad, Minor Threat (Transmitter), Black Flag, Nirvana, Sonic Youth e roba No Wave; ci si perde nella moltitudine di screziature che originano da questa fonte, ma che lascia attoniti per quanto invece sia autonoma e personale.

La qualità maggiore nell’ascoltare Rogo è che ti aliena, forse perché gli alieni cominciano ad essere una parte cospicua della popolazione mondiale, ma soprattutto ti traghetta nel prendere parte alle irruenze, che in quanto a genuinità e rabbia, nonché alle invenzioni sonore spedite e calamitanti, riescono a generare quel pilastro spirituale di cui oggi si ha rara testimonianza nei reparti uditivi dell’underground.

La strada viene ancor più spianata dal combo noise-aggressor entro quel panorama irriducibile che profuma di combact rock (Oxcart), il placement emotivo ove inquadrarli agevolmente. Direi che le virulente ed esacerbanti traiettorie del gruppo moltiplicano gli ardori e le aderenze verso un’attitudine a scavare la terra dura, e con violenza, sino a scoprire a forza di colpi su colpi (Nutcracker, forse una delle migliori songs iper-svalvolate, e Hooray Hooray) una vena pulsante veritiera e urgentemente espressiva, incarnazione di vita e di sgorgante naturalezza alternativa.

A noi di IYEz risulta costante il noise esasperato ed esplicitato senza troppi artifici, anzi gli artifici qui non esistono affatto, utile a scartavetrare via dall’ascoltatore le concrezioni adipose superflue accumulate da altri ascolti insalubri, intoppanti le sue arterie soniche, e rendendo benignamente fluido l’apparato circolatorio dell’udibile, ora rivivificato dall’armonia estremizzante, chiassosa, e intinto nel savoir-faire strumentale rintracciabile anche lungo la struttura muscolare del corpo vitruviano immortalato da Leonardo da Vinci, ora liberato (attraverso le raffiche di Rogo) dalla sua posizione immemore di fissità (YESSSS Brother) e capace finalmente di contorcersi ferocemente, di fremere e urlare declamando sofferenza, nervosità per la riacquistata indipendenza di movimento. Non più simbolo, ma azione.

Fanno leva la massiccia super ritmica del basso (Daniel W.) e il dirompente quanto intenso drumming (Mat Dumil), suonano insieme come una delizia devastante contornata dalla invasata voce di Ralph Schaarschmidt, anche all’ottima elettrica: i Trigger Cut espiantano a 360° ogni sentimento di falsità e puntano, manco fossero un razzo radiocomandato, direttamente al cuore del target prefissato in cui prevale il potente frastuono; mentre a un ascolto più attento (merito della produzione) balugina il tracciato di quell’inventiva appassionata, rivoltosa, diretta a definire la bellezza dell’album, sfavillante di genuinità esplosive e lacerate in forma iper-rock!

Ci ritroviamo faccia a faccia con la bestia di Rogo, esposta in un guerresco manifesto sonoro che, al pari di un’opera di Haring, di Warhol o di Banksy, svincola dall’inutile a solo vantaggio di una resa verace e incontenibile servita a mitraglia in guisa psycho-killer (tuona, tra i tanti, il capolavoro “Fireworks“).
Se la letteratura, la cronaca, la musica, l’arte non riescono a definire in questo periodo una novità, una sterzata epocale che sia di riferimento per i tempi nuovi, allora fanno bene i Trigger Cut a dissolvere la fuffa prodotta da quei media che si incollano al disperato tentativo, dettato dal pensiero dominante, di costituire coattivamente una forma, una direzione, una way of life artistica compatibile e in linea con la pandemia, sbrindellando così, sino ai minimi termini, l’intelaiatura del superfluo, del fottutamente vano e accomodante, plasmato per tenerci buoni, cioè, ‘fessi & contenti’, nelle nostre mutande.

Neppure io, in verità, ho potuto sottrarmi a un lavoro di così potente impatto che cicatrizzava, forte della purezza della sua marcia erompente ultrasonica, le mie ferite scombussolate dalla cultura pandemica propinata dal Big Brother dell’informazione (Solid State), segnato nell’anima da quei frullati post-covid fatti di imposizioni informative obbligate, e attualizzanti, intente a raccontare panorami nuovi che in realtà non si sono ancora costituiti, non esistono, lasciando di base solamente l’horror vacui (confezionato ad arte) mirato a contenere la follia umana che non è ancora scoppiata a causa della metamorfosi instaurata dal covid-regime e protratta dalla sicurezza di Stato. Cosicché ne faccio bibbia di questa musica, sono grato al buon Bog burgessiano (e intendo il termine BOG inventato dall’autore Anthony Burgess nel libro “Arancia Meccanica”) nell’aver agganciato una simile ruvidezza nutritiva che aspira proprio, per chiarezza di scopi (Way Down The Border), a sgomberare il campo dai ricamini e dalle pseudo-perfezioni appartenenti a una sfera artistica e comunicativa costruita a tavolino (altrimenti di che si parlerebbe in giro?) e che risulta pietosamente inconsistente per l’anima.

Di certo prima o poi la sveglia suonerà per chi dorme sonni tranquilli e rassicuranti indotti dai media, ma se si cerca la pace dei sensi, bene, rivolgersi altrove, poiché qui impazza la lucida stravaganza sovvertitrice.

Un lavoro che avvicina e poi supera in potenza lo splendido underrated Latigo Canta degli spagnoli Giganto!


www.ox-fanzine.de/review/rogo-125422
Thanxx Ox-Zine and Kalle Stille

Okay, here we go: Die Noise-Platte an der sich 2021 (und darüber hinaus) alle anderen Bands messen lassen müssen. Das, was SHELLAC nie hinbekommen haben, nämlich die Symbiose aus der Virtuosität der einzelnen SHELLAC-Musiker und der Energie, Brutalität und Durchschlagskraft, die BIG BLACK hatten, ist hier tatsächlich gelungen. Drei Musiker, die ihre Instrumente beherrschen, ein Schlagzeuger, der komplex, virtuos und brachial wie das Tier zugleich spielt, eine Gitarre, die nicht den Twang von Albinis Gitarre imitiert, aber diesen Groove hat, und ein Bassist, der nicht dieselben Noten wie die Gitarre spielt. TRIGGER CUT hätten im letzten Frühjahr durch England touren sollen, dann kam CVD19, alles abgeblasen. Statt Frust zu schieben, hat die Band sich kurz vor dem zweiten Lockdown in ein Studio eingeschlossen und die gesamte Scheiße in eine wütende Platte gegossen, die AmRep in den allerbesten Zeiten zur höchsten Ehre gereicht hätte. Kompensation statt Depression, komplex, ohne nervig, brutal, ohne stumpf zu sein, das schaffen nur ganz wenige Bands. Hier ist es absolut gelungen, ohne Wenn und Aber, ohne den Drang, wie die Vorväter klingen zu wollen, oder sich krampfhaft abzugrenzen, was noch schlimmer wäre. Das Noise-Feld wurde schon so sehr beackert, dass etwas Neues kaum noch möglich schien, aber offenbar müssen wir alle ein wenig dazulernen. So wütend und brachial war es schon lange Zeit nicht mehr. Holla!

diyconspiracy.net/trigger-cut-rogo/

Thanxx DIY Conspiracy

Yesssssssssssssss! Ralph Schaarschmidt’s Trigger Cut hits again with what might be the most popular yet underground Noise Rock release lately.

Ralph (Mink Stole, Buzz Rodeo) is one of the most beloved internet personalities on some of our frequented forums and his unbridled enthusiasm for all things music has gained him a lot of notoriety. Ralph is active in the Noise Rock scene since the ’90s, so there’s no two minds about his sincerity and devotion to the angular, trebly sound of punk music, inspired by the likes of Shellac of North America, Jesus Lizard, Steel Pole Bath Tub, Cows and… well, most of AmRep’s catalog really.
Trigger Cut’s ROGO is the logical heir of the band Buzz Rodeo, where Ralph and his bandmates explore the unmistakable sound of Noise Rock, combined with witty lyrics. I have to say that I like Trigger Cut even more not only because of the great tunes, but because of amazing dedication to this exact sound and form of music. Some may have thought that exact breed of noisy post punk/hardcore derivate died with our entry in the 2000s, but personalities like Ralph and his power trio prove us wrong. And how so!

After releasing Buster in 2019, their highly anticipated new record ROGO sounds super fresh and is really top quality album. It’s super exciting to see this band has a steady, almost cult-like following throughout the world. I really wish them well and hope to catch them live one day!

First LP pressing is sold out now, but you can still snag the Digipack CD, or fancier, black cover 2nd pressing vinyl from their Bandcamp. Do it now and say YESSSSSSSSSSSSSS!

onetwoxu.de/2021/03/02/trigger-cut-rogo/

Danke an Groschi

Auf dem zweiten Langspieler schraubt das Noise Rock-/Postcore-Trio den Energielevel noch mal beträchtlich höher, ohne dabei an der Präzisionsarbeit, den ausgefeilten Strukturen und Arrangements zu verlieren, die bereits ihr Debütalbum auszeichneten. Besonders in der ersten Hälfte ist dabei ein deutlicher Jawbox- und Bastro-Vibe am Werk. Früher hätte ich gesagt, dass Ralph Schaarschmidt mit seinen alten und neuen Bands zum besten aus der hiesigen Noiserock-Szene gehören, aber inzwischen bin ich der Meinung dass auch weltweit nur wenige Bands auf ihrem Level unterwegs sind.

thoughtswordsaction.com/2021/04/05/tcrcd/

thanksss to Thoughts Words Action

It would be ridiculous to talk about the contemporary noise rock scene and not to mention Trigger Cut. This German trio tends to deliver nothing but a premium noise rock to the admirers of this characteristic sound, thanks to Ralph Schaarschmidt, a noise rock veteran who previously played in a Buzz Rodeo. After his departure with Buzz Rodeo, Schaarschmidt decided to gather like-minded musicians and start Trigger Cut. The result of these experimentations is hearable at Buster, their debut full-length vinyl record that I previously covered on these pages. Rogo serves as a proper continuation of its predecessor, but it seems Trigger Cut uplifted their noisy acrobatics on an entirely new level. Expect nothing but a relentless output by this brilliant band.

Rogo contains ten brand new compositions, spanning over genres such as noise rock, post-punk, proto-grunge, grunge, and post-hardcore. Knowing that Schaarschmidt is a big Gang Of Four fan, you can vividly hear some guitar maneuvers that irresistibly resemble the Entertainment by the beforementioned group. There are also some At The Drive-In moments hidden in particular numbers. However, these are minor similarities, and Trigger Cut emits an entirely different vibe throughout the entire album. The group combines rawness, dirtiness, crunchiness, ferociousness, and dynamics on the main portion of their brand new album. Nevertheless, Trigger Cut fully controls all these ingredients and merges them down into a colossal slab of harmonious noise. It’s nearly mindblowing how these guys are pulling some impressive tricks up from their sleeves just in time when you think the composition is coming to an end.

Trigger Cut is one of those noise rock groups that never disappoints its fans, so if you enjoyed their debut material, then you will love Rogo even more. There’s something about those sharp-sounding chord progressions, robust noisy riffages, chaotic guitar shreds, and other entertaining licks that appeals to the listening apparatus. The bass guitar contains nearly an equal amount of distortion like guitar, so these basslines are contributing to the rawness of the ambiance even more. Nothing would sound incredibly good without a tremendous drumming performance, fully stacked with technically demanding beats, polyrhythmic sequences, accentuations, and fills. Trigger Cut paid a lot of attention to all the details, which unquestionably enhance the listening experience to an entirely new level.

Rogo comes on a compact disc housed in beautiful digipack packaging. Trigger Cut embraces visual identity that certainly enhances the appearance of the group even more. The band strictly follows the DIY ethos, so there’s no excuse on this album either. Therefore, Rogo is available directly on their Bandcamp page.

timesboredom.com/2021/12/21/trigger-cuts-rogo/

thanxx to Times Boredom :-)

Trigger cut is a really good band that plays their professed genre of ‘noise rock’ really well. And I’m guessing they’re a lot of fun to see live. They’ve got their shit together, they know their base well, the guitar is aptly abrasive and catchy in all the right ways, and the rhythm section of Daniel W. And Matt Dumil is unstoppably professional. And god bless ’em for finding my stupid little blog in nowhere New York all the way from Stuttgart, Germany.

But they’ve got a fatal problem, which is that everything they’re doing has been done before. By many different people in many different bands for about 30 years now. Like I said they know their genre (which they proudly call ‘noise rock’ but could easily also be called post-hardcore, hard edged math, or some other variant), but they clearly know and worship it too well to put their own stamp on it. That’s not to say they don’t have specific favorite bands they imitate. Specifically, they are undoubtedly huge Steve Albini acolytes. Vocalist and ‘treble guitarist’ ‘Ralph Ralph’ may not have a voice quite as deep and menacing as Albini, but at times it sounds as though he’s directly imitating every vocal idiosyncracy made famous by Albini (at times there’s also some David Yow). I’d say if they had more of an eclectic style that melded more noise rock groups as opposed to worshipping just a few they might stand out a little more from the pack than they do…

I couldn’t find a lyric sheet on the site, but all the words are in English (why do European bands always sing in English? Seriously?). And it certainly does sound like he’s spewing a lot of Albini-esque sarcastic criticism of everything (I think I can make out something about making fun of Munich hipsters which sounds cool). But the first song starts off with the words “you are so beautiful” and I wondered if this was gonna be a cover of Fugazi’s Margin Walker (which would be have been a really interesting take). But with titles like ‘Solid State’, ‘Transmitter’, and ‘Nutcracker’, I gotta wonder if they like Albini WAYYYYYY too much… He literally quotes lines, sometimes in the voice of the great Albini, like ‘in a minute’ in a Steve Albini voice on Oxcart, or repeating ‘Transmitter’ softly 3 times, than screaming it 3 times more. Wtf is a ‘coffin digger’ anyway? The words sound like they have a good command of English, but without actual lyrics I really can’t tell. It’s possible they cut and pasted a bunch of June of 44 and Shellac lyrics together without regard for meaning other than sounding like good typical noise rock one liners.
Don’t get me wrong, this has nothing to do with the fact that they’re from Germany imitating what I’d say is a specifically midwestern American genre and I don’t understand what they’re saying. I’ve heard a number of groups that sound like this from England, from Japan, and now I’ve heard this band from Germany that flew all the way to Chicago to be recorded… and they could be the new say, Mcluskey, STTTNNNNGGG! (or however that’s spelled I can’t even find them on Google anymore), some other British band that sounded like Mcluskey I also can’t remember the name of (but enjoyed in a day so long ago that if I ever found it itd be on a ripped cdr from stolen soulseek files), or any other band that never found their own voice that won’t be remembered unless they somehow market themselves hard enough that people that’ve never heard Shellac or the Jesus Lizard hear them and think they’re brilliant and original.

But the truth is, for now anyway, they don’t bring anything new to the table. Especially to people like myself that have been listening to noise rock genre bands for thirty years now and have heard hundreds of bands like them from everywhere. Which is not to say there isn’t plenty of room for originality within the genre or that there aren’t innovative bands around the globe; Ottawa’s Metz is relentlessly driving and at times too abrasive to listen to but similar enough in song style that you get used to the abrasiveness. Atlanta Georgia’s Whores. (combining noise rock with a rich vein of sludge) is beyond intense and has endless rage for every minute they have to be awake. London’s Hey Colossus is incredibly diverse and unpredictable. There are plenty more examples of noise rock groups that are doing innovative new things with the genre. Trigger Cut really just needs to get in touch with what they can do with the by now well trodden 30 year old genre that no one else can, or they’re doomed to remain in the pack of good, hardworking, adherents of the genre that are such huge fans that they’re practically a cover band.

Thanks for the album guys. You’re a great band and I hope you find your voice someday, but on this album it sounds like you’re using someone else’s.

razorcake.org/trigger-cut-rogo-lp-cd/

thanxx Razorcake and Rich :-)

It doesn’t seem that long ago since this German trio released its debut album, Buster, but I’m more than happy to hear more from the band. Unsurprisingly, the approach hasn’t altered so it’s a noisy effort which doesn’t sound too far off Big Black at times. What I really like is how the recording comes across with just the right amount of space to let each element have its own life whilst coalescing perfectly to create an industrial level noise. The rhythm section punches holes in the wall, whilst Ralph Schaarschmidt’s guitar shrieks and slices like an angle grinder as his Albini-esque vocals threaten to damage his vocal cords; such is the strain they seem under. I believe Trigger Cut has stepped up another level with Rogo and this album certainly deserves to gain the band a bit more recognition. –Rich Cocksedge (Self-released)

medium.com/clocked-in-magazine/review-trigger-cuts-rogo-e015f3f242b6
thanxx Medium :-)

Trigger Cut is a three piece noise rock/ punk group from Germany who have been playing shows for almost five years now and they released their debut album BUSTER in 2019. They come in with a pretty classic but also exceedingly more energetic sound for a band from the noise genre, they bring some serious heat to their songs and I can imagine a few good mosh pits happening when they kick off a show. Noise rock can always either drone on and be kind of boring (except for Swans, they’ll always be the kings) or it can be absolutely chaotic and take its destructive nature and soundscape to the threshold. Bands like Boris and Lightning Bolt come to mind when I think of truly abrasive noise bands.

Trigger Cut to my ear falls into the latter category of absolutely abrasive noise rock but they also make it sound fun. Here in 2021 with their newest album ROGO the band continues this noise punk direction and it makes for a great listen for any noise fan out there. ROGO kicks out a sound that mixes industrial rock akin to Ministry’s early nineties output with punk rock guitar work and some rock ’n’ roll spirit and vigor.

The opening to “Solid State” was what immediately pulled me into this album, it’s so energetic and attention grabbing and any notion I had of what a noise rock album sounds like was gone. I was in for this ride for sure because I knew from the start this band was going to light the room on fire. The crushing bass that follows the bouncing guitar riffs and pummeling drums gave me an industrial vibe from the jump but I also knew noise rock can have this kind of kinetic, frenzied tempo and I reveled in the chaos of it.

Ralph’s vocals on the song sound somewhat spoken, sometimes shouted and eccentric but always attention grabbing amongst the tight rhythms behind him. On a record where there’s many standouts, Ralph’s vocal performance stands the tallest. His voice isn’t here to dazzle you with beautiful harmonies, its to capture your attention and elevate the amount of soul being poured into each song.

These formulas work into the following “Coffin Digger” just as well, another superb bouncy and all around kickass song. Both of these songs start the album off so strongly, it’s been a long time since I’ve been this energized from a noise record. “Transmission” follows along with a kickass grinding tempo, slowing things down a bit when the band gets to “Hooray, Hooray” but still rocking the fuck out.

By the time we get to “Fireworks we see the band still being able to pull off serious energy without being tedious, they play around a little bit more on this song particularly and it makes the record never grow tiresome. Concluding with the overtly emphatic “YESSSS Brother” the band ends the affair on an extremely high note, still keeping the rhythmic guitars and empowering exclamations from Ralph. There was never a dull moment on the 10 track record.

I hate repeating myself but Trigger Cut’s ROGO without a doubt blew me away the quickest any noise bands album has in a long time. Each member is in sync with each other and the tunes found on here are just the right kind of mix of punk and industrial sounds I need to hear. I’m ashamed I didn’t hear about this band before but I can’t stress how pleased I am to be along for the ride now.

louderthanwar.com/trigger-cut-rogo-album-review-and-interview/

thanxxxx to Louder Than War and Ryan

German three-piece art-rock noise-unit Trigger Cut dump their bloody, new album, Rogo, onto 2021. An album providing living proof that by turning the atomic structure of mammoth tusks into peanut butter, the unparalleled triptych of guitar, bass, drums, is an approach to rock that can silence most scumbags with avalanches of equipment at their disposal.

Planet earth collapses in on itself as seismic, sonic booms of squawking, squealing acid-feedback baths, gush and erode and shock away the monolithic pillars upkeeping the modern world’s simple-civil, lace-straight moral dogmas. Like Cobain on the precipice of collapse, strapped into a Victorian dentist chair with Yow handling the humble tools. An unearthing of spirits that scream until the jawbones are pulled apart. The simple and the painful things, during the slime of the times, are the most important things to cling onto.

Or, if you want the album version of this; check out Stuttgart’s Trigger Cut. Their new album Rogo ticking all those crucial boxes and more; erupting to greater standards of oddity and darkness and attack upon every villainous, musical turn. A body of brilliant work belonging to Shellac and Sabbath equally. LTW: How does this kind of noise come about in the studio…what is your approach to writing?

DW: “Well, writing songs and recording them are separate affairs in our case. When it comes to studio time we´re very focused and know what to play to let´s say 95%…The rest are only minor adjustments with the overdubs of the guitar or the vocals – so studio time is no creative time as such. As we said before, writing songs is different. Ralph (vocals and guitar) mostly comes up with a guitar pattern sometimes even with a whole song. He might have an idea of what the song is supposed to sound like but he never urges us to play it this or that way. So while he is playing his guitar pattern we start to jam to these ideas sometimes from a completely different angle – depending on the way we perceive this particular song idea and how it sounds like within our heads. What it finally becomes after our mangling and grinding can be heard on our two releases. Writing songs mostly is a short-time affair, very intense but mostly short…”

-+

The album was recorded on analogue-tape machines. A means of preserving the kernel of the band’s sound, in opposition to the immeasurable amounts of available space; and time; offered by a 16-track. Their bass player, Daniel. W, confirms this kind of approach to enable the group to ”focus on the most important things due to the limitation”, the manual, puzzlement of archaic equipment can foster and infuse in a band’s sound.

With this in mind, solid State drops atom bombs of bass and guitar-shaped walls of sour sound onto a field of rotten corpses because the stench is fucking vile. A dizzying interweaving of elaborate lines, stampede forward as an unpleasant surge of nature. A jaded, jagged, jarring alarm of aggression and guerilla-angularity, forever feeding into this splendid, neo-psyche spectrum of juicy, woozy effects and sadistic lunacy groove. They ooze like puss from wounds and the eyes explode into dazzling oodles of black tape and shattered glass fits of wild, mechanical laughter.

The ancient ways of operating with analogue equipment is an appropriate means of capturing the band’s raw-meat nerve-blending energy. Because it doesn’t cover or compromise the purpose of the music as developed by three people…by three instruments (excluding vocal duties handled by guitarist, Ralph), three voracious, carnivorous entities, unstoppable and interlocking. But all working toward one summit, enduring primarily one way of working with one goal to strive for: the survival of the songs. The album as being greater than the sum of its parts; whereby the point of the noise made is one engendered when all the crucial ingredients are poured into this functional, crucible.With the tantrum of a titanium tidal wave, threatening to devour everything its crashes unfold onto, tracks such as track like Coffin Digger or the mammoth Transmitter, each proceed to pivot and pulsate and push the dials into the red end of the spectrum. Everything deft and daft and working as one.

The former is an exorcism of battered, frazzled, fidgety guitars, dismantled time and space signatures dictated by a mountainous wall of riffs carved out of slabs of both stone and steel, melting into one, brilliant pot and spill onto neat surfaces. Distorted, ruptured voices of headsman bass guitars are dragged through the dirt by their own medieval hood. Bloodshed of thick strings like threads of lace into layers of leather, detuned to the extremity they turn to boiled straws of rusty buckets of spaghetti, spilling and littering the deepest bowels of hell.

The latter is a ceaseless swelling of manic, guitar spirals and supercharged rhino riffage tricks. Everything bends and everything breaks, but always blending and leaping out from a storm of cacophonous noise, amongst a dramatic, dynamic march of strange shapes as the rockin’, disturbed dislocated-bones of post-punk dynamics rip up the roots of all the streets are built upon. A remorseless beast of insatiable, catastrophic energy, teased from behind bars, then unleashed into the wild.Rogo is the work of a band enduring a succession of struggles (a cancelled tour; Brexit and Pandemic regularly rearing their grotesque heads yet again). But rather than wallow in ponds of self-loathing and angst against the entire universe; rather than stagnate on planes of degradation; the group marches on.

Around half of what we hear was composed with their previous drummer, Sascha, who left in late Spring 2020. The other half of the songs were written by their replacement; Mat; who joined in early summer. The introduction of Mat into the Trigger Cut fold, although fortunate to have found him, was greeted by a tossing-out of the plans to tour the UK. But rather than sit around and mope about not reaching British shit-stained soil; they decided to write ”as many songs as we could for the upcoming release”. And finally, they succeeded in finishing their latest album, just as the last lockdown shut itself over the last weekend of their studio sessions. The result of which, in spite of the album, we can all enjoy live, soon enough. LTW: Will the tour be resuming once lockdown lifts and what else is in store for the future?

DW: “When the tour had been planned the Brexit still seemed far away and a pandemic of this scale hardly anyone could foresee. Now the Brexit has become reality and the cultural interchange with the UK, unfortunately, isn’t as easy anymore as it used to be before. The Covid pandemic still isn´t over yet as well so we sit and wait. Needless to say that we´d really love to play in the UK. We hope that we can revive our plans of touring in France which also was initially planned for late 2020…”

LTW: How does this album progress from the previous one?

DW: “This actually is a question someone from outside the band could answer way easier, I suppose. There was no different approach to writing songs. The rehearsal facility respectively studio was the same. Only minor parts of the studio equipment had changed between the two releases…so I guess our mindset was slightly different. The tension and anxiety caused by this pandemic had to be released musically to some extent. I guess this somehow is the reason why people classify this release as being more aggressive and angry than our first LP. Those familiar with their last LP from 2019, Buster, will recognise the familiar Trigger Cut tropes, aggressive and angry indeed. Yet it’s a progression, like it is for everybody, for contextual reasons; conducive to the underlying turmoil sedimented in the skin of each twist and turn, ascent and decline of the songs. More sonic depictions of multiple personalities in states of disorder and disarray than a compound of catchy-little no-wave tunes. They remain injected with a fresh sense of trajectory, impact, and malice. Sustained and survive through acts of making itself known through a distinctly vicious prism of brutal, psychological trauma; a fine way to exert and expulse the manic, urge to rock; the yearning to burn what the band position between: a noise symbolic of the poison that causes the crops to go against nature.

One riff melds into another; soon joined by the voice of another instrument wrestling its way to the forefront of the analogous whole. Oxcart stabs and probes and pulls apart one limb from the other. Hooray Hooray is a remorseless stampede of atonal oddities cascading into each other in the same warzone. Fighting for attention, assertive like a sonic uncoiling, peeling from the hinges of the solid earth, and ferociously, fantastically unwrapping themselves in the middle of this intoxicating, intense, spikey, old mess.

It’s a mess that can be traced back to Ralph’s previous band, Buzz Rodeo, who combusted during a European tour (remember those words?). Rather than give up on his career as a musician in Munich. He decided to work on some songs with Sascha, a friend, and fellow, musician on the scene. Ralph and Daniel discussed forging a new group. Both Daniel and Sacscha’s replacement, Mat; initially involved with the project as session players, decided to remain with the group. Concretising the band’s indubitable toughness and tenacity, combining Rollins Band’s Weight, Big Black’s Lungs, and Membrane’s Muscles, into one hypnotic pot of caustic, fumigating vibrations.

Vibrations that will crumble your skull to putty.

Vibrations that turn water to paint thinner and rip roots from the tender flesh of old, ruptured grounds.LTW: How long has this band been together and how did you form?

DW: When Ralph´s previous band Buzz Rodeo fell apart; we had a little chat on the phone about different things, nothing special. He told me that Buzz Rodeo had folded and he asked me if I knew a bass player who currently had no band and probably could meet his expectations for a new project. We had not been in contact for a while since the recording of the last Buzz Rodeo album was months ago. We knew each other from two previous other bands we had been playing in together and of course from the multiple recording sessions we had for the Buzz Rodeo releases. So I suggested to fill the bass gap until he would find an adequate musician to join him for his new band. End of story was that I stayed.

-+

And it’s a good job he did. Because the noise is distinctly their own. A composite of all spirits summoned up from the instrument’s pit. The encouraging, bludgeoning, upcoming, structural shift. Every instrument has its rightful place; important in occupying a certain, sonic territory; a pyramid brick integral when applied to the supportive force and flow of the next, momentous, musical moment. Like Polvo’s Tilebreaker and Pixie’s Subbacultcha sharing the same bolt, channelling the same shot of voltage, causing the jugular veins to jump ‘n’ bulge ‘n eventually: burst. Nutcracker nears total collapses. Vicious exhalations of black gas into sealed rooms. Concrete wheels bulldozing all they come across making giant lives appear small. And Fireworks is swimming pools of pure space turn to soil. Vengeful and secreting venom and vinegar, one instrument throwing fuel onto the other, one instrument providing the dreaded match. Restlessly it digs in the dirt. Burying the carcass of a twisted history behind them. Towers of tumultuous spectacle and gladiatorial foreplay are performed between big-bollocks splinter-finger bass and brutal blocks of choppy guitars, both carrying a carcass in a sack; both chasing the vocals into the maze to the ominous, reptilian mechanics of tribal, percussive patterns.

Shattered to a million pieces as skin drips from the fists of love, dropping into Cobain’s cup of pennyroyal tea, Way Down The Border is equal parts Tuffskins by Hammerhead and Roadkill by Head of David. Metallic hums and buzzes of melodies and locust-swarm chaos-clouds of feedback raise upward from the cold ground. Sometimes lost in a monstrous gestalt entirely their own, but soon end up being swallowed by each other and finally: found as part of the wonderful whole. Engulfing all obstacles, waiting to impale all that they encounter, surmounting all blockages with a rotten, torrent of 3-piece sludge-punk energy. That impenetrable proto-grunge, savage-garage grooves. Those corrosive, post-punk experiments with alchemy and intellect, angst and art, lost in their own loose heads. Savage, rampant, and damaged.

Damaged in the best way possible. Do It Yourself Damaged. LTW: You seem to be adamant that the band is fully DIY and only released on Bandcamp…what is the reason for this philosophy?

To be precise we have to admit that we are not fully DIY. The artwork of the LP is the work of an extremely talented guy who is a professional graphic designer but who generally doesn´t focus on band artwork on a regular basis. So while designing our latest LP, stickers, T-Shirts, etc, the whole range so to speak, Trigger Cut somehow became his baby a little bit as well. Same thing with touring as we have a booker of course. But when it comes to songwriting, recording, public relations, etc. we are DIY. But nonetheless, we are open-minded enough to know that there are labels out there who share the same spirit as we do. Sometimes we’d really appreciate a collaboration with a record company as it would mean for Ralph to have more time for the other important things in life – cats and gardening, for instance…

-+

Whilst cats and gardening are essential; Regular Funk opens with the unravelling of a barbed wire knot. An equally essential song on the album.

A total disentanglement of each instrument, a miraculous dismantling of restless, kinetic tonality. Abrasive and caustic like discordant drops of battery acid on the tip of one’s dropping tongue. Melodies melt and change shape. Busy, brutally cruel, brains-to-paste bass builds walls that backward, acute and, strangulated guitars rip down right behind them. Thudding and punching their way through a stretch of shit, as a playful, deranged parade of drums flatten everything that should fall before their presence of the shotgun into the stomach at close range.

YESSSSS Brother is Naked Raygun covering Gang of 4, about to be sucked into a crack of a towering barricade; a vortex soon to enlarge, within which everything falls. Ferocious jolts and delightful slices of white-light guitars are heard suturing a wound together with a soldering iron kit. A demented nest of electrified riffs, more volcanic ash than chordal shapes, wrestle with themselves all convulsed, screeching-machine structures and boisterous, haunted-robot enthrallment. A fast, clattering of maverick drums melts metal into a fierce mix of boiling liquid, popping and piercing and pinching and poking themselves through one ear to the other. My dick splits and my fucking eyes explode.

Audible melodic notes bulge from the muscles of a brilliant thumps bass guitar; fizzy, tremors of trebly guitars, laugh as they are flayed alive and tumultuous, pulverising, jumps of levitating, pagan bass are burned at the stake with a smile on their face. Heavy like Carrying their own crucifix up a deceivingly steep hill; sloping upwards into the tapered prongs of tomorrow. Notice the creeping stench of electric currents to a plate of dead flesh.

The band is savvy to the notions of labels, and the kinds of prospects such an interest, or investment; could garner upon being signed to one. They would absolutely fit alongside the crop of your Amphetamine Reptile or Alternative Tentacles roster. Yet being signed is a double-edged sword. One which ties your hands and cuts your hands off. One which slashes the shackles and enables exposure on potentially unprecedented levels according to the cottages of the microcosm. But being a wise bunch of noise-goblins; to be cradled in the arms of a record company ”would have meant to give away the most precious thing we possibly possess: The freedom to write and to release songs the way we want it”.

For the time being; Trigger Cut, remain ours.

tinnitist.com/2021/03/06/now-hear-this-trigger-cut-rogo/

Made with Heartblood, Love and Noiserock Soul during the Covid-19 Pandemic. YESSSSSSSS.10 brand new Songs for our beloved Fans all over unique Planet Earth.” You don’t need a long press release — or another review that uses words like savage, ferocious, serrated, clanging, pounding, aggressive, relentless, unhinged, thundering, blistering, brutal, searing, angular, acerbic, feral, hair-raising, punishing, corrosive, monstrous, malevolent and propulsive — to appreciate these German noise-rockers’ second album. Just brace yourself and push play. That will tell you everything you need to know.

www.maximumrocknroll.com/band/trigger-cut/

Thanxx MRR and Nick :-)

TRIGGER CUT is a German noise rock band that takes several pages from the SHELLAC playbook, but goddamn, they do it well. Steve Albini’s influence is definitely all over this record, from the trebly dissonant guitar to the slightly distorted bass production to the detached shouted/shrieked vocals. So they didn’t invent this particular template, but TRIGGER CUT may have perfected it. Each track comes out pummeling with heart-pounding, head-bobbing hit after hit of noisy, muscular grit. The relentless energy and super-crisp recording is as good as this genre gets and pairs excellently with the classic Touch and Go or AmRep bands of the ’80s and ’90s. This shit is exciting. When vocalist Ralph moves from a half-spoken/half-shouted verse to a voice-cracking shriek like in “Coffin Digger” or “Regular Funk,” the effect is arresting and awesome. “Fireworks” manages to get even heavier with the sturm und drang of a drop-tuned doomy bass riff with explosive full-band response that absolutely rips. The rest of the record never slows or weakens the full-tilt destructive onslaught. Highly recommended!

gbumps.blog/2021/10/17/trigger-cut-rogo-2021/

thanxxxx Gb Blog
se welcome, so beautiful Trigger Cut.

All these pandemic outcomes can be painful for a band, but that’s no reason to halt. Trigger Cut is on the way and these guys never agree for a compromise it seems.

The latest to date album called “Rogo” is self-recorded collection of sincere songs, raw and beating like a human heart. Plain melodies, catchy riffs, loud drums and explicit vocals, that’s what it is made of.

Don’t be surprised it you won’t be able to resist to jump high shouting “Hooray” somewhere in the middle of the listening to this stuff. I bet you’ll repeat the same several times, especially when it comes to “Fireworks”. I know, as I did it myself.

www.court-circuit.live/evenement/magasin-4/trigger-cut-black-tape-on-nails/artiste/trigger-cut

From the ashes of the legendary underground Band "Buzz Rodeo" the trio TRIGGER CUT was born in 2018.

Led by "Ralph Schaarschmidt", Trigger Cut celebrates the finest Noise rock that harks back to the 1990s-- Touch and Go/Dischord, Noise Amphetamine Reptile records tag.

Shortly after founding , the debut album Buster was recorded and released. The Underground Press went overboard and celebrated the Debut.

In 2019 the second longplayer "ROGO" followed it`s way to the --Noise Rock-- fans. Reviews poured out and celebrated Trigger Cut-Rogo.

Then suddenly Covid broke out and put Trigger Cut into a long deep hibernation.

This sleep was used to record the soon to be released 3 album. Everyone can look forward to the new Lp --SOOT!!! YESSSSSSSSSSSSSSSSSssssssss

fuzzysunblog.wordpress.com/2021/03/10/trigger-cut-release-rogo/
thanx Fuzzy Sun :-)
The German three piece Trigger cut are back after their 2019 album ‘Buster’. The new album ‘Rogo’ is out since March 1 and and is quite the beast. It seems Trigger Cut has switched to a higher gear, their music sounds fuller and maybe a bit faster and more agressive, maybe this is because the album was written during the pandemic (you probably heard about that). Ralph Schaarschmidt (you may came across his name throughout the internet about all things noiserock/postpunk) delivers the treble guitar and slightly deranged vocals on ‘Rogo’ and its those vocals that give it a bit of an extra kick for me, they make it sound a bit more crazy, give the whole album a more raw feel.

‘Rogo’ is an excellent album, it is a sonic attack of noiserock with some postpunk vibes. Lucky for you the LP is also beautifuly designed so it will fit just nice in you collection. Order it on bandcamp now.

You can only say “YESSSSSSSSSSSSSSSSSSSSSSSSS”

www.perteetfracas.org/zine/kros2021/kros_t/trigger_cut_rogo.htm

Thankss to Perte et Fracas
Si un terme doit résumer Rogo, c’est urgence qui va de pair avec absolue. Dans la foulée d’une tournée en Angleterre annulée, d’un Brexit qui met de gros bâtons dans les roues et d’un sale virus qui met définitivement tous les plans en l’air, Trigger Cut a exhumé toute son énorme frustration dans dix morceaux férocement abrasifs et incendiaires. Les déceptions, ça a du bon.
Rogo, second album du trio allemand, n’est pas très différent à la base de Buster. Il est juste empreint d’une fièvre inédite et ça fait toute la différence. Trigger Cut augmente la température et la teneur en frénésie, ce qui fait que sa musique n’est plus seulement une succession de morceaux noise-rock parfaitement ajustés mais une plongée dans la psyché confuse et agitée d’un trio luttant contre des éléments contraires.
Le souffle de Rogo fait chaud dans le dos. Est d’une spontanéité à toute épreuve. Ne lâche jamais le mords, n’offre pas de répit. Est d’un bloc homogène et pourtant chaque titre est unique. Trépidant comme jamais, furieux comme au premier jour, se lançant à corps perdu sans se soucier des dégâts, magnifiant ainsi un noise-rock d’école se trouvant submergé de tous les cotés, profitant d’une fougue nouvelle pour élaborer des morceaux encore plus solides alors que le chaos guettait.
Trigger Cut pervertit les codes. On connaît l’amour invétéré du chanteur-guitariste et principal protagoniste de Trigger Cut (Ralph Schaarschmidt) pour le noise-rock, le post et art-punk (on doit avoir un nombre incalculable de disques en commun). Tous les groupes correspondants à ces différentes scènes depuis quarante ans rentrent dans les influences de Trigger Cut (autant dire que ça en fait un sacré paquet) même si des groupes comme Big Black, Rapeman ou Scratch Acid sortent du lot mais au final, Rogo est plus que la somme de tout ces glorieux spectres, c’est la quadrature du cercle qui s’étale de toute son évidence devant vos tympans en feu avec un surplus de hargne pour faire avancer la roue.
Avec l’aide d’un nouveau batteur (Mat Dumil) bien que l’ancien ait participé à la moitié de l’écriture de Rogo et un bassiste (Daniel Wichter) qui a aussi enregistré l’album, Trigger Cut est non seulement doté d’une section rythmique spectaculaire frappant encore plus fort et juste que précédemment, il offre toutes les garanties d’un combo uni et déterminé, une seule main ferme distribuant les mandales à tour de bras. Avec un guitariste qui chante/crie comme ça lui vient et lamine des riffs aussi acérés que ulcérés, déversant son lot de notes corrosives et étranglées, Rogo est une écharde persistante finissant par ouvrir des brèches béantes, un déboulé sonique cherchant l’air continuellement mais où chaque instrument trouve sa place sans forcer, des flux et reflux qui matraquent, filant droit malgré les nombreuses convulsions et permettent à des fulgurances mélodiques d’exister. Et elles sont nombreuses. Précieuses même pour donner tout le vernis et l’ampleur nécessaires à cette déferlante noise. Urgent donc, du genre qui ne se calcule pas et provoque de petits miracles. Rogo en est un.

www.muzzart.fr/20210215_31111_trigger-cut-rogo-autoproduit-1er-mars-2021/

thanxx to Muzzart :-)
Solide trio allemand où jouent Ralph Ralph – Treble Guitar and Vocals, Daniel W. – Bass Guitar et Mat Dumil – Drums, Trigger Cut évolue en DIY total et sort avec ce Rogo noise et massif son deuxième album, après un Buster paru, lui, en mai 2019. En dix titres puissants, au sujet desquels le rentre-dedans inaugural appelé Solide state ne laisse planer aucun doute, l’attaque met à mal l’échiquier noise dont pas mal de constituants, après un tel choc, auront à retourner à leurs chères études. Entre Mclusky, Jesus Lizard et Fugazi, Trigger Cut se taille un siège à coups de béliers bien sentis, frontaux mais pas dénués de nuances. On n’est pas très loin, sur certains passages, d’un Shellac ou, dans une plus grande proximité avec nos terres françaises, de nos Tantrum avec leur Twisted in Anguish imparable, daté certes puisque remontant à la fin des 90’s, mais majeur. Ici, on enchaine sans coup de mou. Coffin digger fait l’effet d’un bulldozer, pourtant derrière la force de frappe affichée les chansons, constamment, groovent. Transmitter, rythmé et wild à souhait, ne se retient pas. Sa batterie distribue les mandales, sa basse tabasse, en relief. Le chant est braillé, on remarque que tout, sur Rogo, tient parfaitement en place. Rien ne flanche: on est visiblement en présence, avec ces trois teutons, de musiciens habitués à -bien- faire les choses eux-mêmes, suffisamment autonomes et talentueux pour proposer un produit final abouti.

opduvel.com/2021/03/02/trigger-cut-rogo/

thankss Opduvel :-)
Uit de as van het in 2018 ter ziele gegane Buzz Rodeo zijn twee interessante nieuwe bands verrezen: Unbite en Trigger Cut. Over die laatste band hebben we het hier. Het trio onder leiding van zanger/gitarist Ralph Schaarschmidt is inmiddels toe aan zijn tweede album, de opvolger van het sterke Buster uit 2019. Daarop liet het drietal uit het zuiden van Duitsland in de jaren negentig gewortelde noiserock horen. Het was niet bijster origineel, maar de sound was indrukwekkend en de band had oog voor heldere songstructuren.

Op album nummer twee, getiteld Rogo, is de bezetting van Trigger Cut op een plaats gewijzigd. Drummer Sascha Saygin heeft plaatsgemaakt voor Mat Dumil. Daniel Wichter is nog steeds de bassist van dienst. Jaren negentig noiserock, waarbij gedacht kan worden aan Amerikaanse labels als Touch and Go en Amphetamine Reptile, vormt nog steeds de hoofdmoot van de muziek van het drietal, maar waar op het eerste album een naam als The Jesus Lizard naar voren kwam als referentie, daar neigt de sound en de attitude van de band nu wat meer naar Shellac, zelfs in Schaarschmidt’s zang, die her en der qua dictie en stemgeluid aan Steve Albini doet denken. Trigger Cut is dan weer niet zo minimalistisch als de Amerikanen en de Duitsers hebben zeker ook een eigen geluid.

Ten opzichte van de vorige plaat lijkt de band er op Rogo nog een scheut energie bovenop te hebben gegoten. De mathematische ritmes zijn nog iets dominanter aanwezig en al met al gaat van het nieuwe album meer urgentie uit dan van de toch niet misselijke voorganger. Het ‘echte’ liedje verdwijnt soms wat naar de achtergrond (al maakt Trigger Cut nog steeds wel liedjes) ten faveure van ritmiek, dynamiek en gekte. De zang van Schaarschmidts heeft soms iets maniakaals en dat past goed bij de harde en scherpe muziek van de band.

Tien tracks telt het album en er staat geen mindere tussen. Wel een paar hoogtepunten, te beginnen met opener ‘Solid State’, dat alleen al om zijn rollende en galopperende ritmische patroon aandacht verdient. De bas staat lekker luid in de mix, de drums zijn all over the place en de gitaar klinkt messcherp. ‘Coffin Digger’ gaat op dezelfde voet en hetzelfde niveau verder, is nog iets vetter aangezet, met opnieuw een hoofdrol voor de ritmesectie. De energie spat van de muziek af. Schaarschmidt schreeuwt zich bij tijd en wijle bijkans schor; zijn tomeloze vocale inzet compenseert zijn wat dunne stemgeluid.

Gas terugnemen is er niet bij en dus dendert ook ‘Transmitter’ over je heen alsof je er niet staat. De Shellac-invloed is hier heel duidelijk aanwezig zodra de gitaar wat tempert en de zang over de vrij kale sound van bas en drums wordt gelegd. Dat zijn echter momenten in een song die uit verschillende ideeën is opgebouwd en daarmee voorspelbaarheid tegengaat. Recht vooruit rocken is er bij Trigger Cut niet bij, getuige ook het hoekige ritme van ‘Oxcart’. De Duitsers hakken spaanders en zijn niet van plan daarmee te stoppen totdat de laatste noot heeft geklonken.

Dat wil niet zeggen dat er geen plaats is voor nuance, maar die is te vinden in de harde en lunatieke sound van de band. ‘Hooray Hooray’ lijkt aanvankelijk wat minder voor de linkse directe te gaan, maar hierin speelt de band zodanig met dynamiek dat de stoot misschien nog wel harder aankomt. Mooi is ook hoe de song even in elkaar mag donderen, waarna de draad weer wordt opgepakt alsof er niets gebeurd is. De salvo’s aan het einde maken uiteindelijk gehakt van de tegenstander. Ook in ‘Fireworks’ speelt Trigger Cut met dynamische effecten en hard beukende ritmes. Fraai is hoe de gitaar een enkele keer op de achtergrond klinkt, om vervolgens met volle kracht op de voorgrond te treden. Qua tempo wordt een tandje bijgeschakeld in ‘Way Down The Border’, al is ook hier de ritmiek hoekig en is van een rechttoe-rechtaan rocksong allerminst sprake.

Trigger Cut overdondert en beukt de luisteraar bijkans murw. Nog drie te gaan en het is bepaald geen straf. ‘Regular Funk’ doet het in minder dan twee minuten, waarna ‘Nutcracker’ met een simpele maar zeer doeltreffende gitaarriff aftrapt, voordat een complexere structuur het roer overneemt. Slottrack ‘YESSSS Brother’ deelt vervolgens de definitieve genadeklap uit. “We’re lost in music”, schreeuwt Schaarschmidt. Inderdaad. Vierendertig minuten furieuze noiserock biedt Rogo. Er is geen ontkomen aan.

www.rebelnoise.com/articles/trigger-cut-band-spotlight
thankss Rebel Noise

My new favorite band is a self proclaimed "dirty, loud and evil" three piece out of Stuttgart, Germany. They've been kicking around the scene since 2018 spreading their own unique brand of dissonant noise rock. Preeminent songwriter Ralph Schaarschmidt along with long time friend and crushing bassman Daniel W. came together with dissenter drummer Matt Dumil last year to round out the current lineup. The chemistry of these three malcontents can be witnessed on their new release Rogo out this month that you can find on their Bandcamp page. These guys are fueled by that true DIY ethos and maybe also inveigled by the ghost of Steve Albini. Well, since Albini is still alive let's just say I'm guessing there is some Big Black in their record collection alongside a notable sited influence The Jesus Lizard.In these days of ongoing political unrest, tyrannical fascist leaders, homogenized pop music drivel and manufactured radio songs along with a myriad all other social ills, Trigger Cut are a nod to the almighty power of guitar, bass and drums. Here's to dreams of replacing those stale old white men in positions of power with cute fluffy tabby cats and cranking up the volume on that glorious slab of vinyl, aka stack of wax, aka licorice pizza from our new friends Trigger Cut

stnt.org/content/trigger-cut-rogo-autoproduction-2021

thanks STNT
Débouche les tuyaux, viens déverser ta bile mon coco, rythmique tribale, batterie droite profonde et grasse pour une guitare noise bas dans le manche qui sait alterner avec parcimonie ses attirances vers la vieille noise putride et des plans peut être plus posés. Quoique. Ouais, c'est du sang surprise, comme le pain mais avec des poils dedans et quelque chose qui a de quoi plaire au vieux fan de Noise que je suis. La basse bien du ventre a de quoi donner du fil à retordre à la batterie pendant que le chant éructe ses prêches. L'énergie est là, le muscle aussi, sous le gras, mais voilà, j'aime m'y lover, j'y suis à l'aise, les références y sont légions, l'allemand TRIGGER CUT a encore sévi pour son deuxième album, celui que je préfère. Penser le rock d'Albini avec de la barbe (et ses dérivés), j'aime la voix éraillée de Ralph Schaarschmidt (ex BUZZ RODEO), j'aime entendre comme il essaie justement de décaler sa voix, rien à cacher, le live c'est mieux que tout et j'espère bien un jour voir ces TRIGGER CUT tenter de s'érailler la voix sous mes yeux submergés par des litres de sueurs et des tonnes de gras.

organthing.com/2021/03/05/organ-five-music-things-trigger-cut-xiu-xiu-with-a-liar-the-new-tijuana-hercules-album-the-trudy-jess-joys-patreearchy-the-sound-of-thumpermonkey-locked-down-and-bandcamp-friday-and/

thanxxx Organ Thing

Trigger Cut are back with more, back with more of the same really, the same was good though. Last time, back in 2019, we said of the Germans that they sound like Homage Freaks or Anorak Lovechild or Red Eye Express or Kodiac or those Scissormen or a… We said “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”

And this time? This time a new album out on March 1st, more of the same with maybe just a little more, still as abrassive, still like being down the Bull and Gate with Red Eye Express or the Falcon with Scissormen, still sounding beuutifully 90’s and Camden, and yet moved on enough though, not standing still, still abrassive, they would have sounded good on the Eight Day Itch with Godlike Bass and yes all those Tads and Mudhoneys and we still need bands like Trigger Cut doing it properly don’t we? More here, more fireworks and things…








www.underdog-fanzine.de/2021/02/05/trigger-cut-rogo/

Danke ans Underdog Fanzine :-)

Ralph, Daniel und Mat offenbaren einen Noiserock-Sound, angelehnt an BIG BLACK und experimentelle SST-Releases. Doch der Bulldozer Sound ist handgemacht und die Strukturen bleiben immer variabel, heißt: monoton hämmernde Riffs und Beats wechseln sich ab mit implodierenden, eruptiven Versatzstücken.

Mit "Fireworks" serviert das Trio ein eingängiges Stück, das nichts will außer unkontrolliert tanzbar zu sein. In der lärmenden Soundkulisse ist es weniger die Brachialgewalt, die durchdringt, als mehr eine nussknackendes Zusammenspiel aus filigrane Klangarchitektur in einer rohen Fassung mit vielen Details und innovativen Ideen sowie massiven dissonanten Intervallen, in denen Harmonie und Disharmonie ein ewiges Weshalb und Warum austragen. Gut, dass es auch richtig geradlinige Passagen gibt, die wie in "Fireworks" auch selbiges abfeuern.

vinyl-keks.eu/trigger-cut-rogo-lp/

Danke Vinylkeks :-)
Ralph, der Gitarrist der Band, schrieb mich an. Klar, hör ich auch mal Noise. Ist nicht so ganz meine Welt, aber wenn es fetzt, dann ist das schon auch mal sehr geil. Trigger Cut haben hier mit einer brachialen Gewalt die Beats und Töne ins Aufnahmegerät gezimmert, was sofort Spaß macht und nach vorne treibt. Die Band spielt nicht nur geradeaus, sondern zerlegt auch ihre eigenen Strukturen, wie am Ende von „coffin digger“. Es ist, als ob ein urplötzlicher Rotz die Kehle hochsteigt und dann Spit! landet eine Portion geballte, euphorische Wut in deinen Ohren. Mitten im Song werden Beats zerlegt. Oder auch davor. Oder danach. Ganz nach momentaner Gefühlslage wohl.
Es wirkt erstmal ungeplant und sehr rough, vorgetragen mit einem spröden, manchmal sehr nöligen Gesang.
Der Song „hooray hooray“ glänzt dann durch ein paar elegische Momente, was im kurzweiligen Noise schon echt cuul ist.
Insgesamt ist die Präzision, mit der hier die Backsection Bass und Drums Beats vor- und zerlegen, ziemlich smooth, die hallige Gitarre schrabbelt nicht „einfach“ Noisekaskaden darüber. Der Sound ist super produziert, hat ein gewisses Alleinstellungsmerkmal, 16 Tracks live aufgenommen, auch der Gesang ist im Vergleich zum letzten Release noch ne ganze Ecke besonderer geworden. Er unterstützt nicht nur durch rhythmitisiertes Sprechen, sondern gibt auch mal einen Hauch von Melodie zum besten! By the way: seit dem letzten Release “Buster” hat der Mann, der die Trommelfelle kitzelt gewechselt. Es hat der Band eindeutig gut getan. Ich habe das Gefühl, dass sie wesentlich energischer und energetischer miteinander eine Geballte Ladung Noiserock abladen. Zehn Songs, knapp über 30 Minuten. Das hat ideale Länge!
Klar, die Musiker sind keine Unbekannten, sie wissen schon, was sie tun; und doch beeindruckt es mich immer wieder, wie die Noise-Szene ihre Bands supportet. Der lärmende Dreier spielt seit circa 2018 zusammen, hat schon über 4000 Follower hier. Die erste Auflage CD’s und LP’s ist ausverkauft. Wenige der Zweiten sind noch bei Bandcamp zu haben. Das Ganze im Eigenvertrieb!

grizzlybutts.com/2021/03/02/trigger-cut-rogo-2021-review/
thanxx Grizzly Butts

Crucifixion would at least incite a sympathetic response from a certain percentage of the crowd, perhaps even driving them into the arms of their savior. Staupenschlag in public for petty crime probably inspired more crowd-obscured erections than it did strike fear of criminality upon those inclined. No manner of cruel physical torture in a public setting could possibly compete with the brutal mental bolt-gun of shame in an otherwise safe situation. Pillories surely didn’t treat alcoholism, no more than Twitter cancellation might’ve, and that’d be for the error of not matching the public shaming of the individual to their most sacred actions. You’ve got to know your demographic, torturer. The finest example of this is the well documented efficacy of “the flute of shame“, a device specifically reserved for bad musicians. A shackle for the neck welded to an iron flute with the hands locked in place on the keyholes might seem to disregard a public reaction entirely, honing directly onto the insecurities of the artist; This is perhaps the only way to permanently warp the individual, demolishing the feigned and/or carefully mustered confidence it takes to perform in public. What can a society that’d disallow shame via cyber mob do to reduce the irreverence of the irascible and unshakable bastions of nowadays noise rock? An inherently absurdist reaction to punk rock tameness cannot know shame, it has been a thankless chore reserved for freaks and for decades. By simply admitting that it is good music, enjoying it and thriving within the maturing art-punk fineries of the sub-culture a certain level of subversive popularity will inevitably self-shame ’til death. It worked for hippies and disco, anyhow. In this war against raw, emotional defiance and shameless acts of anti-rock musicianship we can consider German noise rock trio Trigger Cut a rising kingpin of skronking post-punk past, a retro-but-not-shit noise rock clangor that yarns its way back to the wild Midwest and shouts in a sort of insider language that only the keenest ear might receive and cherish. ‘ROGO‘ is their second offense, the sort of album we’d burn like books in a town square for its heretical nonsense before spanking a few criminal butts bloody with canes. I’ve no idea how this freak rock shit is even legal anymore, and I’m not sure any manner of violent zealotry could stop it.

After four years of well remembered work in Buzz Rodeo from 2014-2018 two-thirds of that line-up would split to form Trigger Cut with drummer Sascha Saygin (The Automatics, Majmoon) taking clear and well-stated influence from late 80’s/early 90’s noise rock, classic post-punk and no wave. Their first album (‘Buster‘, 2019) aimed squarely for the hits we all associate with Touch n’ Go Records and Amphetamine Reptile among other important post-hardcore and noise punk labels that’d been underground zero for free-wheeling, intricate new forms. I’d discovered ‘Buster’ later in the year and included it in my 20 Underground Noise Rock Albums You Missed in 2019 column noting their exciting, sharply produced sound and reverence for some of my favorites, The Jesus Lizard, Laughing Hyenas and Shellac. Inspired by widespread acclaim, encouraging sales and general reverence from the world over Trigger Cut went into 2020 ready to rock another 90’s noise rock lovin’ heavy (uh, an album) eventually swapping in drummer Mat Dumil and plugging on. It goes without saying they’d had to deal with/wait for the ongoing global pandemic in the meantime, no chance of touring reasonably complicates the notion of recouping an independent release. ‘ROGO’ naturally bears the brunt of world disorder and turmoil, a reaction wearing a frenzied emotionally chaotic mask even more imposing than noise rock/post-punk street-sweeper records typically is. Frazzled and impassioned in equal measure, ‘ROGO’ reacts rather than elucidates pouring out the pressure upon a swollen skull in the form of inventive post-punk edged noise rock.

The boxy shadowplay of early Shellac, the kinetic dread of ‘Solid Gold’-era Gang of Four, the alt-clunk of Cows and the warbling semi-melodic collapse of Drive Like Jehu gets us most of the way there as the major traits of Trigger Cut begin to define and refine themselves on this sophomore album but the ultimate decider lands us equal distance from pre-’94 The Jesus Lizard and the boppin’ and screamin’ post-hardcore shove of modern acts such as USA Nails — A willingness to bask in tradition one moment and balk at it the next in presentation of freshly elaborate ideas. Back in 2019 my general thoughts on ‘Buster’ suggested “The bass could be uglier, the vocalist could lose his mind a bit earlier…” and these issues I’d taken then no longer apply, though I would not say the bass performances are ‘ugly’ so much as they maintain a bulbous, full presence throughout the album. This aspect of their sound should appeal to folks who’re familiar with Steve Albini‘s early output as well as Fugazi‘s most celebrated records. Serving early 90’s noise rock feeling without needing to commit fully allows Trigger Cut their own voice, which does admittedly land squarely where their influences -should- conceivably take them. In this sense ‘ROGO’ is pure comfort in terms of its sound design, recorded on a simple analog machine and mastered by the maestro Carl Saff into a harsh and often satisfyingly groove-ridden full listen. “Solid State” makes cryptic plea for firmament, opening with a bass driven and hook-filthy piece that sets the general momentum of the first few songs on record. “Coffin Digger” quickly plugs up the momentum as its play with repetition, ringing noise and language feels like an obstruction to start, stuttering vocals and collapsing movements warrant a closer listen for theme when placed with such importance and the result is somewhat overtly complex in a section usually reserved for an easy ‘single’ on your average rock record. “Transmitter” is that moment, fashionably late to the party but a deserving muse piece to return to when considering the greater character of Trigger Cut mid-‘ROGO’, exasperated and parsing their next several steps with great consideration. The collapse and reprisal around the 2:50 minute mark is the first of many moments that elevate the experience beyond the usual funk bump n’ grinding noisy post-hardcore shout fest that noise rock can be in the wrong hands; Wriggling guitar tone, wrangling riff and its echo within the enormous bass guitar sound driving the moment would prove strong enough in statement to pull me in for the long haul.

“Hooray Hooray” finds a zipline between the scrawling tonality of ‘Entertainment!’ and the post-hardcore it’d inspired by proxy, sliding into its chamber as one of the more brooding moments of release on ‘ROGO’; The song itself has its revelatory moment but still appears in service of building tension before “Fireworks” moves in as another unexpected standout on the full listen. Post-punk influenced guitar work becomes more of a focus on my part as the second half of the album manifests, increasingly distraught and prone to the “quiet, loud, stop, quiet loud, loud” movements a lot of modern noise rock pulls from their early 90’s influences via osmosis. As was the case with ‘Buster’, Side B has a few pieces I’d never connected with (“Way Down the Border”, “Regular Funk”) yet the final moments of ‘ROGO’ ultimately redeem this lull in interest. The pensive yet celebratory gunk of “Nutcracker” is perfectly placed near the end of the running order, sounding extra sour before “Yesss Brother!” leaves things square. The urge beyond that point was to hit repeat and figure out just exactly how long this thing could play before I start to sweat and toss my cans on the floor and yeah, for a noise rock album I’d never really reach the point of offended headache I kinda strive for. Though it might seem like Trigger Cut are exclusively playing to the crowd with a nostalgic sound they’ve done a fine job of personalizing every statement, leading with taste first and then inserting themselves into every moment. After a certain number of spins through it, ‘ROGO’ was speaking to me as an product of an overwhelmed mind in the moment, a cathartic yet earnest stumble through dystopic projections… Some of which’d make perfect sense no matter the angle I’d approach with and others that seemed to result from jamming, an well developed instrumental intimacy that creates clever sonic details out of thing air which one could look back upon and say hey, whatever that was it was worth repeating. A high recommendation, thus far one of scant few noise rock highlights for 2021.

provinzpostille.de/tag/trigger-cut/

Danke an Provinz Postille

Ralph, der Gitarrist der Band, schrieb mich an, klar hör ich auch mal Noise. Ist nicht so ganz meine Welt, aber wenn es fetzt, dann ist das schon auch mal sehr geil. Trigger Cut haben hier mit einer brachialen Gewalt die Beats und Töne ins Aufnahmegerät gezimmert, dass das sofort Spaß macht und nach vorne treibt. Die Band spielt nicht nur geradeaus, sondern zerlegt auch ihr eigenen Strukturen wie am Ende von „coffin digger“.
Der Song „hooray hooray“ glänzt durch elegische Momente, was im kurzweiligen Noise schon echt cuul ist.
Insgesamt ist die Präzision mit der hier die Backsection Bass und Drums die Beats vor- und zerlegen ziemlich smooth, die hallige Gitarre schrabbelt nicht „einfach“ Noisekaskaden darüber. Der Sound ist super produziert, hat ein gewisses Alleinstellungsmerkmal, auch der Gesang ist im vergleich zum letzten Release noch ne ganze Ecke besonderer geworden. Er unterstützt nicht nur durch rhythmitisiertes Sprechen, sondern gibt auch mal einen Hauch von Melodie zum besten!

Klar, die Musiker sind keine Unbekannten, doch beeindruckt es mich immer wieder, wie die Noise-Szene ihre Bands supportet. Der lärmende Dreier spielt seit circa 2018 zusammen, hat schon über 4000 Follower hier. Die erste Auflage CD’s und LP’s ist ausverkauft. Wenige der Zweiten sind noch bei Bandcamp zu haben. Das Ganze im Eigenvetrieb!

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TRIGGER CUT Germany

NOISE-ROCK THREE PIECE

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

Three Piece Noise Rock Unit


Live im Forum Bielefeld 09.02.2024!!!!
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