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Bug are like a head-on collision.

Bug are the perfect blend of entertainment and art: The Hungarians claim.

Bug are playing New Metal: The Ox fanzine believes to know.

Friends of sick shit will definitely get their money’s worth at Bug: The Swiss say.

When I’m feeling really bad, I listen to Bug records: A Tyrolean homieette confesses.

Bug are a noise rock quartet from Innsbruck, Tyrol, Austria. Bug’s universe of sound is post-modern. All or nothing: Old skool noise rock collides with black metal. Doom and blues merges. Sludge mutates with Jazz Rock. Stoic musical autism combined with a consistent DIY attitude.

For over 2 decades.

Bug have been playing shows with the crème de la crème of the punk / metal / HC / noise rock underground since 1997, such as FLIPPER, UNSANE, OXBOW and many more. Two „newcomers“ changed their lineup minimally in the last 20 years.

BUG have released about 10 records with the help of friendly Austrian labels (INTERSTELLAR / ROCK IS HELL / NOISEAPPEAL).

2021 was a shitty year.

Do viruses really make you sick? Sometimes it’s better not to have friends. Shit life. Nightmare existence. Death lottery. Everyone is on his own. Baby, we are born to die. Shut up and pray. Death is remorseless. Only death is real. Only God forgives. I do not. There is no salvation. For people like us. There is no tomorrow. These were the times: Drinking, fucking, dancing. Life is good. Life is not a request concert. The system is sick. The new masters are multinational corporate bosses. The big reset is near. Only dead fish swim with the stream. It’s a crazy, fucked up world. Isn’t it? If you don’t know where you’re going, every path leads to your destination. The world turns black.

Lux ultima means „the last light“ or death.

CALAMITAS:

The night has its price and I am eager to pay.

Calamitas means loss, disaster, damage, harm, defeat and misfortune.

Calamitas sounds like a brutal blast beat inferno merging into harsh noise rock (Anti),

classic blues guitar harmonies mixed up with black metal-ish yodeling (Arbeitsunwill),

Mariane dig bass lines embracing a true metal heart (Fuck me blind),

monolithic walls of white noise collapsing into nihilistic death rock (Happiness is hard to hold),

sludgy, distorted rhythm blended with mathy, metallic guitars (Best days of my life),

desperate songs for the unloved channeling suffocating post punk angst (A knife for every heart).

Calamitas deals with danger babe Ruby, who stole Silvio Berlusconi’s heart,

Satan deceiving us all by using the purgatory doctrine,

dictator Kim Jong Senior (II), the sexiest man alive back in the days,

beautiful femmes fatales with a look that kills,

the man who cut off his own leg to get disablement pension (he didn’t succeed),

personal misery, the best days of my life, the abyss that is staring back, etc.

We play Post Noise Rock.

We had minimal lineup changes (2 new guys in 20 years).

We sound like a brutal blast beat inferno merging into harsh noise rock (Anti).

We mix up classic blues guitar harmonies with black metal-ish yodeling (Arbeitsunwill).

We blend sludgy, distorted rhythm with mathy, metallic guitars (Best days of my life).

We are doing DIY shows since 1997, totally honored to share stages with the crème de la crème of metal/HC/Punk/Noise Rock underground (UNSANE, YASS, NAG, OKKULTUKRATI, BL’AST, OXBOW, IT’S EVERYONE ELSE, ARABROT, FS MASSAKER, NAILEATER, INSANITY ALERT, RIVERWITCH, FUCKHEAD, MAUD, TEN VOLT SHOCK, AGAINST ME, ANALENA, ZENI GEVA, KURT, KEELHAUL, BREATHER RESIST, MADE OUT OF BABIES, NARROWS, PLANKS…).

We had various car breakdowns, numerous amp/gear wear and tear and yes, we “forgot” all our merch at a club once.

We have approximately 8 records under our belt. Thanks to our fellow Austrian Labels INTERSTELLAR / NOISEAPPEAL / ROCK IS HELL!

This is what the media say about us:

„Austrian noise-rock unit, Bug, are veterans of their craft. They played their first shows together in 1997 and have ten albums to their name. Support slots with Unsane, Oxbow and Flipper over the years have propelled them to the forefront of their underground scene. In a world where homogeneity threatens to flatten the appeal of rock music, we need artists like Bug. Part sludge metal, old school punk-rock and doom, the Austrians return with Lux Ultima as the debauched misanthropes in deck chairs you want them to be. Rule number one of Bug’s music is to make it squelch like a muddy field. Their second ingredient is a grinding bass guitar. Vocalist, Markus “Maggo” Dolp, then adds his special sauce as if snarling with a frog stuck in his throat. Album opener, ‘Grinning Cat’, is the relentless high-energy punk rock with a sinister smile that made the early 1990s a special time for alternative music. It’s catchy and easy to dance to, yet the drums are all over the place. Andreas Deutinger’s bass is louder than the groan of a dying whale. Listen to the tritone groove at 01:30 – this is how you introduce a sludge metal menace into rock music. Bug care about the important things in life, like the mental state of Britney Spears. You’d think Maggo had a piece of meat stuck between his teeth the way he shouts, “Daddy and my Motherfuckin’ management shall all go to jail.” The drummer and bassist like to throttle their instruments while Bug’s singer imagines himself as the frontman of a shock rock circus. Here, natural harmonic string vibrations of the electric guitar whistle like a pitch tuner. A Bug song is like a jam session with no preconceived direction. Why does this music sound so spontaneous? Maggo is incapable of melody, but one assumes that’s the point? His shaky projections have more in common with the early 80s punk scene. If God gave rock & roll to us, Satan gave us Bug. Of course, music that relies on virile energy for its raison d’être can also reveal artistic shortcomings. The likes of ‘Virol’ and ‘S.N.A.F.U’ take you back to 1989 and the dawn of Tad before grunge immortalised them as a band that would never receive their dues. There’s no thought for double-tracking the vocals here because Bug want to keep it as raw as possible. Andy Cairns of UK noise rock legends, Therapy?, would enjoy this music. It’s uncommercial enough to revel in its disdain for the mainstream, yet it has enough hooks to make you hum a bassline. Naturally, Bug are at their best when they place their amps in the realm of metal. ‘God’s Hell’ rips through a blackened punk intro with blast beats and flesh-stripping shrieks and then gives way to a filthy garage rock pageant. ‘G.N.T.M’ is sludge metal with a capital S. Your head will start to loop in a slow rotation before the end of the first bar. A man who experiences the gospel of God and speaks in tongues sounds more coherent than Maggo here, which he’ll no doubt take as a compliment. Fans of Melvins will lap this up like a cat at the sight of a milk saucer. Perhaps the biggest achievement of Lux Ultima is its ability to rake in a multitude of genres. You’ll grow to appreciate the finesse behind the noise in the absence of anthemic choruses, sharp riffs and advanced melodies. ‘I Bark at Nothing’ is Joy Division on steroids with a demented libertine at the microphone. Closing track, ‘No Tomorrow’, is morbid doom from the first note with a great reluctance to step out of the coffin and into the daylight. Bug rally against the baleful influence of big pharma and big tech and celebrate the collapse of capitalism like a gigolo downing a whiskey at the sight of street rioters smashing up bakeries and betting shops. They also rock out and make sure your ears bleed in the process.“ screamblastrepeat

„Here we have Bug’s 10th studio album, and me wondering where they have been my whole life. I was surprised to discover this is actually the first Austrian band to feature on Cauteriser, considering our spread across Europe so far. Nevertheless, statistically Bug have earned the county a very strong musical reputation, based on our averages, if we actually performed statistical analyses. I’ve de-railed already…Lux Ultima kicks straight into the very harsh Grinning Cat (which is fitting, cats only take pleasure from the misery of others, don’t trust them!) with its jerky structure and obnoxiously awkward instrumentation. But as the album progresses you quickly notice the musicianship is actually crafted magnificently all round. The percussion is tight and drives the tone of each song incredibly well from start to finish, with the guitar melodies gliding over the top ranging from sludgy to surprisingly lovely. As a sucker for chunky basslines, the satisfaction of the rough and punchy playing here rounds off a pleasantly abrasive yet varied blend of styles.But before you get too comfortable, the vocals steal the show, only fitting genres that feature the pre-fix “Death”. Unconventionally roared deliveries that are at times evidently intended to irritate the weaker listener (Anal Cunt’s Picnic of Love comes to mind as a comparison, but never as absurd) overshadow what could otherwise be described as quite a nice doom album. But who wants a nice doom album? Life Is Good is a grim staple, opening with a gruffly spoken segment and featuring the filthiest mellow interludes you will ever hear. The abuse of the quiet-loud technique is criminally beautiful and I love it. G ermanys   N ext   T op   M odel  and S ituation    N ormal    A ll     F ucked    U p (Bug’s stylisation, not my mental breakdown (this time)) deliver the slower, chunkier side of Lux Ultima, where Free Britney and I Bark At Nothing contrast as the frantic and riffier tracks.Lyrically the album is equally bleak, seemingly a reflection on the experiences we have all faced over the last few years, the only positive seeming to be how much incredible music like this a pandemic has managed to create. Lux Ultima is powerful in every sense of the word, and Bug are a band that everyone reading this should be firing up on BandCamp…“ cauteriser

„BUG fegen alles weg. Ach was, fegen….bolzen eher alles weg, mal direkt in die Fresse oder quälend langsam und bedrohlich. Mit nihilistischen, wutschnaubenden angry HC, der so auch Teil des frühen SST-Backkataloges hätte sein können, verarbeiten die Musiker offenbar den langen Lockdown während der Pandemie-Phase und versuchen – angestachelt vom shitty life – irgendwas kaputt zu hauen. Ja, dadurch kann mensch sich besser fühlen oder bestätigt den Hass auf alles, was dich quält.
Bei BUG liegen aber nicht die Nerven blank, sondern im Verarbeitungsprozess der schlechten Laune und im kreativen Wirken entgegen dem Stillstand, wird nicht nur ein Ventil, sondern auch die Büchse der Pandora geöffnet. „Lux ultima“ bedeutet „Alle Lichter aus“ oder „Tod“. Nun, während die Welt im Chaos versinkt und mensch sich selber zerstört, grassiert im BUG’schen musikalischen Universum ein kläffendes Bellen mit groovendem NoiseRock-Bastard, der sich in disharmonische Klänge verbeißt und dir ans Bein pinkelt.“ underdog fanzine

“…‘Calamitas’, we also learn, means ‘loss, disaster, damage, harm, defeat and misfortune’. These things, the album’s ten tracks convey with crystal clarity through the medium of raging, guitar-driven noise. And as much as Calamitas is a snarling, gnarly mess of brutality, it’s gritty, tense, and cut from a different cloth from so much murky metal thrashing.
… It’s the perfect balance, and the frenetic and the furious drive that defines Calamitas makes for a gloriously intense listen.” auralaggravation.com

“…Musically it’s all over the map. There’s wide swaths of Unsane-style meaty rock, more experimental and weird pedal-heavy parts reminiscent of USA Nails, some epic mathy sections recalling Breather Resist at their best, and even some areas that dabble in black metals speedy onslaught.” hanginghex.blogspot.co.at

“… Bug, which has been making waves, or better: unleashed hell’ish maelstroms of deadly noises, for almost two decades now. And with their newest effort they’re marching forward on their path of destruction. A production that provides a hard hitting wall of sound, furious drums, angry vocals and brutal, yet precise guitars brings on a 38 minutes tornado of fire and fury. Brutal, noise-ridden, good.” nitesylez.de

“…a cacophony of noise and great to freak out, even with the rambling drunken sounds of the vocalist.” Mass Movement Magazine

„Brutaler Noise-Rock, raffiniert aber nicht verspielt, Big’n oder Zeni Geva als Referenz, aber diese Referenzen sollten sich eigentlich in der 20-jährigen Bandgeschichte relativieren. Denn Bug ist Bug ist Bug. “ freistil magazin

“…big grumbly riffs, big grumbly vocals and an overall apocalyptic vibe.” Collective-Zine

„…mit der Gitarre als Mundharmonika, Gesang wie vom nihilistischen ‘Rock’n’Roll Messias’, angezogener Noiseschraube und finalem Troll-Hopsassa.“ Bad Alchemy

„… bekommt man hier ein schwer verdauliches, jedoch durchaus schmackhaftes Stück Hass geboten, das von ätzendem Witz und finsterer Ablehnung nur so strotzt. Freunde des Kaputten kommen sicher auf ihre Kosten, passt selbstverständlich auch gut zu Selbstgebranntem.“ pitfire.net

“Bug devient incontrôlable et azimuté après avoir montrer tout son savoir-faire dans l’art de conduire un bulldozer, son air de tueur à sang froid lui va à ravir, l’attaque est rarement frontal et Bug n’en est que plus dangereux et convaincant.” perteetfracas.org

„If you like your hardcore chaotic and eclectic but still hard hitting.” a place to burn

„Bug ist eine Konstante im heimischen Noiserockkosmos.“ Kapuzine

atropós

Bug – Atropos CD (Noise Appeal Records)
I don’t know where these are from but it seems very European grind/hard/doom sounding. There is a familiar ring to it, a bit like Neurosis, very disjointed yet sounding right, does that make sense? Very dirty, rough and ready and throw in a bit of post hardcore and a lump of noise-rock and you sort of get the idea behind the madness. There’s nothing new about Bug but they seem to get something on the right track. There are a few duff songs on this, namely “Jesus Wept” which drags along and the singer sounds like he’s on the cusp of throwing up with every word, it might be the feel he is going for but it makes me uneasy.
Best track by far is “The Great Beast Speaks” a cacophony of noise and great to freak out to and sums up the band, even with the rambling drunken sounds of the vocalist. by Paul Hoddy Mass Movement

First few minutes of this and you think you’ve got it pegged: big grumbly riffs, big grumbly vocals and an overall apocalyptic vibe. So far, so Neurosis/Melvins, right? Right. As ‚Atropos‘ oozes forward, however, it begins to shift between forms and styles, lobbing in the occasional sloping post-hardcore element here and a rough-hewn lump of noise-rock there until you’re none too sure as to where things might be heading. At its most off-kilter (be that in terms of broken bottle riffing or strange, slurred, semi-spoken shrieks) you get the feeling that Bug might have a few Oxbow (or, at least, Jesus Lizard) records tucked away in their collections. While there’s nothing here to suggest anything as profound as the names thus far dropped, ‚Atropos‘ is certainly a solid effort and one that at least tries striking out beyond a set of fairly well established parameters. by collective zine

BUG, nicht zu verwechseln mit The Bug (Kevin Martin), erweist sich als humanistisch gebildetes Quartett in Innsbruck. Als Dr. A. Tint (Buzz), Mr. Old (Getrommel), Ing. Dolt (Vox) & Mr. Hooper (Gitarre) kaschieren sie zwar für den weltläufigen Testosteronverbund mit Killdozer, Unsane, Zeni Geva und dergl. ihre alpine Herkunft. Doch schämen sie sich, trotz der troglodytisch rauen Artikulation, ganz offensichtlich nicht ihrer gymnasialen Bekanntschaft mit antiken Instanzen: Auf Agape (1999), Klotho (2003) und Lachesis (2009) folgt nun Atropos (noise38/rip54, LP) als die dritte der Moiren. Sie gilt – unsereins lernte das mit Emerson, Lake & Palmer – als jene Tochter des Schicksals und der Nacht, die den von ihren Schwestern gesponnenen und abgemessenen Lebensfaden abschneidet. ‚Irreversibel‘. Denn es gehet dem Menschen wie dem – ööörrrrrgh! Der Ingenieur geriert sich als ‚Last Of The Razorblade Eaters‘, seine Kameraden prügeln und schruppen ihr Instrumentarium mit dem brachialen Sarkasmus, ohne den man nicht derart von ‚Waterboarding‘ oder ‚Kampusch‘ gurgeln und röcheln könnte. Genug Sarkasmus, um mit ‚Scientology Life Improvement Center‘ diese promibestückte Pressure Group vollzubölken. Und weit mehr als nur mathematische Grundkenntnisse, um derart präzise im Zickzack zu rummsen. Wie weit entfernt die vier von jedem Dumpfbackentum sind, zeigt zuletzt noch einmal besonders schön das epische und vielgestaltige ‚Lebensmensch‘, mit der Gitarre als Mundharmonika, Gesang wie vom nihilistischen ‚Rock’n’Roll Messias‘ Copernicus, angezogener Noiseschraube und finalem Troll-Hopsassa.  by BA 81

Even the OX Fuckers „like“ us now….

Ox

Ach, herrlicher griechischer Mythologie-Schwachsinn! Wie kann man nur ohne dich leben? Besonders im Metal wäre man ohne dich so viel ärmer. Man muss daher die österreichische Band Bug schon dafür schätzen, dass sie (mindestens gemäss dem Titel) den grossen Bogen über die drei Moiren gezogen haben. Logischerweise ist Atropos, also diejenige welche den Lebensfaden durchschneidet, ein fieses Biest.
So wird man auch der musikalischen Schwester gewahr: Es ist ein zappelndes und beissendes kleines Monster, das verflucht stolz darauf ist, fies zu sein. Die stilistische Einordnung müsste wohl so Sludge Metal, Doom, Post-Hardcore und Noise Rock beinhalten. Der beliebte Dampfhammer schlägt Pirouetten im Angesicht aller Schmerzen dieser Welt. Nihilistisch, abweisend und sogar ziemlich gut. Die Songs sind roh und konsequent, halten aber jeweils die Lebensschnur der Komposition straff, bevor diese durchtrennt sind. Genau so roh und feindlich ist auch die Ad-hoc-Produktion der LP.
Wie man es vom Label kennt, bekommt man hier ein schwer verdauliches, jedoch durchaus schmackhaftes Stück Hass geboten, das von ätzendem Witz und finsterer Ablehnung nur so strotzt. Freunde des Kaputten kommen sicher auf ihre Kosten, passt selbstverständlich auch gut zu Selbstgebranntem.
Erscheint ausschliesslich als limitierte LP mit Download-Code.
by reto, PITFIRE.NET

Auf dem dritten Teil ihrer Konzeptreihe über die Schicksale und Untiefen der menschlichen Seele lassen die Innsbrucker BUG die Fleischfliegen auf dem Cover kreisen, zumindest grafisch. Nach Klotho und Lachesis folgt Atropós, und BUG nehmen das Schicksal nicht in die Hand, sondern zeigen dessen dunkle Seite und Grausamkeit schonungslos auf. Der Song Waterboarding setzt sich mit den „verkrachten Existenzen“ Frodl, Prikopil und Fritzl auseinander, in Kampusch versetzt sich der Sänger und Untergrund-Poet Maggo Dolp in den Überlebenskampf und bereitet sich mit Liegestützen auf geballten Fäusten vor, um abschließend auf dem Grab des Peinigers zu tanzen. Diese unglaublich Räudigkeit und Direktheit in den Texten setzt sich auch in der Musik fort. Brutaler Noise-Rock, raffiniert aber nicht verspielt, Big’n oder Zeni Geva als Referenz, aber diese Referenzen sollten sich eigentlich in der 16-jährigen Bandgeschichte relativieren. Denn Bug ist Bug ist Bug. Veröffentlicht auf den österreichischen Labels Rock Is Hell und Noise Appeal Records, und deshalb gibt es auch wieder feinstes Artwork in verschiedensten Editionen und Stückzahlen.  by mr. ri, FREISTIL

Im Grunde bleibt der Mensch sich selbst ein Geheimnis. So verstimmt sinnieren die vier Rätselknacker von Bug am Ende ihrer „Fates“-Trilogie, die sie nun mit ihrem dritten Panzerschrank „Atropos“ abrunden. Zehn Jahre ist es her, dass das Mammutunternehmen seinen Ausgang nahm, mit „Kloto“ 2003 und dazwischen eingeklemmt „Lachesis“ 2009. Und auf dieser trockenen Schmerzmetal-Tour haben die vier Fragezeichen einiges an Noiserätseln gelöst und die dunklen Krachmonster besiegt. Und 2013 tut Bug fast am meisten zwicken. „Atropos“ schreddert und schnauft. Es wird geröhrt und gerockt. Die Zähne knirschen beim Hinhören, die Ohren jammern unterm Gewummere. Bug ist eine Konstanteim heimischen Noiserockkosmos. Und nach zehn Jahren scheinen die Jungs auf ihrem Höchststand angeommen. Direkt aus dem Kellerverlies prügeln die Käferchen auf ihren wütenden Gitarren ein, die Trommeln bersten gleich und dem Mikrofon geht ́s nimma gut. Wiederholung; Treffer. Ausflug vor den Bluesaltar. Eher dir ein tonnenschweres Riff die Kerzen auspustet. Bug klappt. Und wer das nicht glauben mag, der soll sich bitte selbst davon ein Bild machen. Zum Beispiel einfach auf die herbstliche Tournee gehen, auf der die Bug durch die einschlägigen Löcher auch in deiner Nähe krabbeln. Bitte schön und rein geknallt! by Michi N, KAPUZINE

Bug is a four piece hardcore punk band from Innsbruck, Austria. Atropos is their new LP. Bug plays an eclectic brand of hardcore punk bringing in sludge and noise rock to fuel their attack.  The guitar has a nice thick, distorted tone than can be pealed away for something approaching a melodic solo while the singer has a gruff shout that he puts to great use. Every song shows a different side of this band, a different facet they focus while still creating a coherent album that explodes at you from all directions. The Great Beast Speaks has an off kilter mathy rhythm while Jesus Wept tears everything apart before rebuilding a monstrous, sludgy beast and tearing it down again. If you like your hardcore chaotic and eclectic but still hard hitting, BUG’s ATROPOS will serve well. by Projectburnt.blogspotco.at