The Society Islands
N e w s | S o n g s | I n t e r v i e w | P r e s s T e x t | D o w n l o a d s | C o n t a c t
October 1 2006 - No 1
Rogowski returns to deliver
On the picture you can see Boris Rogowski hibernating in front of his indoor simulation of the Tahitian sunrise; those continental winters can be a bitch, and we should cut him some slack for his
reluctance to directly expose himself to them. After all, he did return, bringing along the fruits of his labour: a collection of songs recorded in the warmer regions of our world, namely the light-bathed shores of the South Seas (okay, admittedly, fact is they originated in a small cellar in Cologne, Germany - in total absence of daylight), entitled Kiss and Tell and released under the moniker The Society Islands.
You'd like to know more? Well, my friend, you've come to the right place! Our hypertextualized newspaper holds all the information you long for! Apart from that, we'll keep you posted about everything that happens in the Society Islands-universe in the News-Blog. Have fun!
Listen and watch
About the video streams
This site allows you to watch Rogowski perform the entire album.
Quicktime (version 6 or later) will be needed in order to play the video streams.
Kiss & Tell
out on October 20!
The Society Islands' Kiss & Tell' will be released on October 20 via TRC - The Record Company and distributed by Al!ve in Germany, Austria and Switzerland. Labels and distributors for the rest of the world are to be announced. Meanwhile, the album can be purchased via Emusic or Amp Camp.
Rodeo (with Isis Zerlett)
Smile / Save me from your smile / Smile when I'm all right / But keep your eyelids low / You are right / The scent of foreign nights / Will cling to me on our ride / To the rodeo / And times will change / The fire and the rain / Will make the forest grow Don't tell your name / Don't ever tell your name So I'm the last to know / At the rodeo Spite... / I loved you and I lied / It isn't a far cry / The heavens lie below / All right / I love your mossy eyes / They im-
pregnate the night / Of the rodeo And times will change... You feel so naked all bymyself All prone to burn out in a shell / And still there's life inside your spell / I can cope with nothing else / Bye bye my petty self / Until the rodeo / Until the rodeo...
Spoken: The night birds lined the four-cornered wall. A stone formation, piles of mortar - burnt by the sun, washed out by the rain - had covered the bushes, bleached the leaves, finally descended into the dust of the arena. The Visigoths sure had built to last, but what does a ghost need cohesion for? Blame Jesus... Young girls in feria dresses, faces blushed with expectation of the things to come, played desperate tic tac toe's in the sand, suddenly stopping when a voice arose in the unclear area. It told me to move, so I took out my chewing gum and made four long steps forward... so many faces, so hard to tell in the indirect light. So... I didn't go for the faces, I went for the toes: Three straight, one pointing up, last one straight. Three more steps, half left. I stand, I look to the ground, I stick out my right hand.
'Take me to hell, Beatrice.
Your Life Is A Hotel
Among the living dead / With a wet cigarette / Wish you were safe inside my head 'cause I worry / That you might be dead There's been a red alert / I'm in the mood for a flirt / 'Cause I'm so bored of what I know 'bout love now / I'm about to desert And now I'm reeling at your beautiful shade / It's check-in time but I was too late Because your life / Your life is a hotel, how I'd like to spend my days in your Capri Lounge / Or whistle with the janitors underground / Your penthouse must be work of the devil / But my job is sweeping floors on a level / So far below... You've got a vacancy / But it's too large for me / I can't afford a boudoir by now, girl
We'll have to wait and see / Well, I know the motherfucking debate / You mother-fucker can't play it straight / (get the motherfucker out of my entrance)
Your life is a hotel, how... / You are the weather cat of Mt. Labelle, son / You're going to reap the fruits of your beauty's spell: none / You think your face will make the concierge fall? / The C in Capitalism stands for Charmers Appal / That's all you do!
The Diner Song
So they say: / The centre of a perfect day
Keeps spinning away / Keeps fading away
'til the pivot goes astray / On such a day
You really got to love all / So you serve all
From the fay to the foe / 'til it gets late and you go home / Keep drifting away / The leaves are tainted / But it's still okay / The world is painted with the colour of a colder day/ Yay-ay / You'll meet me on your way
You'll tell me that your job is not the
motion / But to listen and to talk / So keep
talking away / Hey sir, what do you know? / Wanna hear 'bout our special today?' No. I'll have a medium coke / And a club sandwich with double mayonnaise' Welcome to our diner' / How come they never let go / How come some people feel so damn alone / In a place like home / Okay... / The seeds of love are planted in the park The world's enchanted by your silent singing after dark / Yay-ay / But what obscures the way / Are pictures of Diophantine equations in a primary school in hell / We can't solve 'em away / Hey sir, what do you know?'... / In a place like home / Like home
Hotdogs At Sunset
Hotdogs at sunset / They puzzle my mind / My liver, my bladder / I'm falling behind Back to the girls in the gymnasium / We had no reason to be sad / Not in a lifetime Nick-naming our used cars, well / My darling Nikki, how 'bout some vodka?'
Hotdogs at sunset, at springbreak / At peace / Well maybe / I'll give you that quarter For two more of these / Come on get more magaritas / We had no reason to be sad / Not by my wife's spine / Trick-gangsters land on mars and / Coco Chanel she's / Holding the scalpel / It's thousand volts / Hotpants and colts / The sun is firing upon the ass parade / Just pull your con / We all know that you're no nun / It's time to play, so / Why bother with the booze When the drink of the day's... / Hotdogs / At sunset / Sunset / At sunset
There's turbulences on the apron / The luggage makes the people wild / So get your mangonels to the airport / And soak the tourists with ginger wine / That's not supposed to be amusing, Donna... / It's just some allocated rhyme / In colloquial style / Just some LSD'ed ganja / Meant to fan our fire / Just a quilt of love / Come apart at the seams / Like your dresses are a message for me / I never will be able to read / You were creeping through the vegetation While I was having allergies / A case of disjoint allocation / A Playboy Bunny with batteries / That's not supposed to be amusing, Donna... / It's just some allocated rhyme... / That's not supposed to be amusing, Donna... / That's not supposed to be the music, Donna... / It's just some allocated rhyme...
Back Of The Land
We... / Oh we were trying to find / A glimpse of the light / That nobody can stand / That's why we... / We were taking a ride / To the back of the land / We... Reached the end of the road / And our car got broke / That's how wrong it all went When we... / We were taking a ride / To the back of the land / See... / How the rocks loom near / The horizon gives in / And we disappear / Schemes... / In an idea of light / At the edge of that night / Now it's in your hand / To say what we... / We were trying to find / At the back of the land
Jane and her best friend Jill / Went down to the mill / And you should believe me
Thoughts... those pitiless thoughts / You're dying for naught / You better believe me' / (enter your father) / Jane... (while he spoke he went strolling on)
The right to complain (bathing cats in
petroleum) / Is something you'll gain (carving hearts into linoleum)
The minute you're leaving' (truly spoken,
go now) / Away from the man who stole
your ring / Away from your family's ugly things / Fault... now that you mention it, it wasn't your fault / Little darling, you swam an ocean of salt / And drank of waters,someone said they could heal you / (just go)Away from the cold and darkening plains Away from the fever that remains / Or you will end as some used-up bride / In the countryside / Time... maybe it'll mess up your plans / But that's in the hands of god Time... again playing tricks on your mind / 'Cause time's not a line... or what? / She is looking good / She is feeling fine / Why did you make no protest? / How could you let them all scale you? / Is this what you chose / Or the reward for what's failed you? / Why did you come to the heather / When he wanted you to come?And when he came then why did it / Make you feel so numb? / Girl you will end as some used-up bride / In the country / Charlotte / Emily and Anne / Well Anne was a man / Try-ing to deceive me / And Jane And her best friend Jill / Went down to the mill / Now do you believe me?
Eyes Facing Inward
My ships are somewhere out at sea / And it is all the same for me / 'Cause I love you Tee, I love you / They're celebrating Strayer's Day / We do our best to save the play / 'Cause I love you / Tee, I love you
We're starting in, we're starting out / We're starting in each other's mouths / And we mean to / We scraped the mucus from the crust / Filled a hole of love and trust / And we still do / And all my demons shout and swear / At all the pretty skirts you wear
And I love you / Tee, I love you / And never mind the spots to shed / Some light on all the dark ahead / 'Cause I love you
Tee, I love you / We're starting in, we're starting out... / The night we met / A child came through / With eyes facing inward
Odd but true / The night we kissed / The sky turned red / And spat dirty pictures Upon your bed / Follow me to Lover's Lane / We'll celebrate and not explain / My ships are somewhere out at sea / And it is all the same for me / We're starting in, we're starting out... / The night we met...
She lives in Lemon County at the gates of dawn / Knowing no direction but the sun
She is the reddest sherbet in the Sheraton
Melting with the vineyards and the tuns
I accidentally broke her heart / And in return she tore my life apart... / She loves to do valetas by the coastal groves / Railing at those oddballs on the go / She is a phea-sant's feather in a chicken run / Gliding down the Rockies in the sun / I made the picnic that broke her heart / And in return
I made the picnic that broke her heart / And in return she tore my life apart / Just when I thought her gone for good / She was waiting round the bend / Oh Julia / All I know 'bout you is you're peculiar / One moment you are almost tame / And then it goes round and round again / Oh Baby / Your future has five letters, namely maybe / It's funny how a summer rain / Can make the whole world proud again / And all the glitterati feel there is no god / Face to face with Julie and her lot / 'Cause if there is one thing that they just don't need / It's the filling to the vacuum that they breed / So let us give up on Hollywood It's just a hill awaiting the last flood / If Frances Farmer was the breeze / Our Julie is the storm / Oh Julia... / Let her build you up, let her take you down / To the quiet grounds of this cowboy town / Oh Julia...
(lyrics: E.A. Poe)
It was many and many a year ago, / In a kingdom by the sea, / That a maiden there lived whom you may know / By the name of ANNABEL LEE;-- / And this maiden she lived with no other thought / Than to love and be loved by me. / She was a child and I was a child, / In this kingdom by the sea, / But we loved with a love that was more than love--
I and my Annabel Lee-- / With a love that the winged seraphs of heaven / Coveted her and me. / And this was the reason that, long ago, / In this kingdom by the sea, / A wind blew out of a cloud by night / Chilling my Annabel Lee; / So that her high-born kinsman came / And bore her away from me, / To shut her up in a sepulchre / In this kingdom by the sea. / The angels, not half so happy in Heaven, / Went envying her and me:-- / Yes! that was the reason (as all men know, / In this kingdom by the sea) / That the wind came out of a cloud, chilling / And killing my Annabel Lee. / But our love it was stronger by far than the love / Of those who were older than we-- / Of many far wiser than we- / And neither the angels in Heaven above, / Nor the demons down under the sea, / Can ever dissever my soul from the soul / Of the beautiful Annabel Lee:-- / For the moon never beams without bringing me dreams / Of the beautiful Annabel Lee; / And the stars never rise but I see the bright eyes / Of the beautiful Annabel Lee; / And so, all the night-tide, I lie down by the side / Of my darling, my darling, my life and my bride, / In her sepulchre there by the sea-- / In her tomb by the side of the sea.
Love Under Palms
And she left the hotel / Out of tears and far away from home / At the end of an April day / Wishing it all / Wishing it all away And if we could have helped it / Well, we couldn't have helped it anyway / Can you look at that perfect sky / Wishing it all
Wishing it all away? / And we left the party
Letting go of our lives for you and me And what a horrible word is / Infidelity It's all about love / Love Under Palms With the saliva of our lovers / In the mouths of one another / We went down to the edge of the night / You never never would cheat on him / I never never have been the type to stray Now take a look at their faces / Wishing it all / Wishing it all away / Let us wave to the airplanes / Let's delay our departure one more time / For another vacation / Starting last night / It's all about love... / It's all about Haitian divorces / And sad dreams of horses / To live with the cost / Cry, if you must / Pinch your salvation / And weed from plantations If no-one gets shot / It comes down to what? / Love...
House Of The Syrens
Picture me / With a machete / Cutting a path through the swamp'o'tyme / To the house of Synne / I remember / When I first saw Milanee / With her sister Krista stuck in dough / And calling me in / Calling me in / Come and see how it's been done / The electric love that's ours / Pulsing in the vessels of our home / Nothing but longing has led you to our house / You've come a long way / From dough to lover's cake
From chewing gum to rubber armour
From pottery to pornography' / I stayed a fort-night / Or a life / Living in a first story dwelling of their kitchen sink / Just remem-ber / When you first see Milanee / Make sure you're walking head high / When they call you in / Call you in / Come and see how it's been done...' / Hey girlfriend / Can't you see / I'm charged with a lover's energy / And you can't take this load off me No more
All videos were shot and edited by Werner Kruschke
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No Stranger To Friction'
Quick, Before It Melts interviews Boris Rogowski
The Society Islands' Boris Rogowski likes his milk on the rocks.
...Boris Rogowski would sound too singer/songwriter-ish,' says Boris Rogowski himself, when asked about the decision to release his new album, Kiss & Tell under the pseudonym The Society Islands. I'm not sure I understand what he means at first, but he goes on to explain: I am both (singer and songwriter), but the song writing is merely the beginning, and the processes that follow--all the arranging and engineering--are equally important.' This I can understand. He'd certainly not be the first person to hide behind the faÃ§ade of a band to release solo material. What always intrigues me about this choice is how artists go about choosing a name to call themselves, and I wondered why he'd choose the moniker The Society Islands, which actually do exist (Tahiti and Bora Bora are two of them.) Paul Gauguin, one of my favorite painters, made himself at home there. I only know Tahiti through his paintings, and it looks like a good place to be. If I ever get the chance to play a gig there, I'll be in paradise, literally. I love the sea, I love islands...' He reveals there is more to the name than just his admiration for Gauguin and beaches, though. Both 'Society' and 'Island' are beautiful words,' he explains, and they connect well: society always goes with connotations like 'community', 'relationship' or 'interaction', whereas an island is always something that is detached or isolated. It's not really an oxymoron, but has a nice friction nonetheless.'
Nice friction, indeed. I find his choice of the word friction' (as opposed to contradiction') rather interesting, because there certainly is quite a bit of friction on offer on Kiss & Tell. There isn't a neat little box you can slot Rogowski's song writing into: part German cabaret, part cartoon western, part epic ballad, part symphonic operetta; so many different parts rubbing up against each other, and yet strangely, they create a cohesive and intriguing collection of songs. Friction.
Yeah, that's a completely conscious decision,' he says, Especially when it comes to the connection between lyrics and music. I like this kind of friction, upbeat tunes with dark themes and vice versa. But I also like to mix different styles of music, due to my eclectic listening habits and my short attention span. I can't bear to play a song for minutes without breaking it up through some new element at some point.'
Rogowski is a contradiction himself; he certainly doesn't fit the stereotypical concept of what a German musician sounds like. Most internationally known German music is either classical or electronic, but it's not like we haven't got any songwriters here.' He goes on to say, In fact, we have some great ones... only they all in sing German and have never really become popular outside of Germany --except for Rammstein, but that's a different story.
Very different, indeed. While Rammstein sounds like its music was forged in a factory, The Society Islands music sounds like it was made on an island far from the influence of musical trends or styles. Rogowski gives weight to that argument: I really can't tell where my music fits in the German music scene... I haven't got much of an idea even about our local music scene. I know the guys who helped on my record, and that's about it. I've never really tried to get in touch with other musicians, which must be due to a certain laziness on my side.'
Calling himself lazy is a sign of more contradiction: Rogowski has been recording and making his own music at home since his teens, teaching himself guitar by playing Lemonheads songs. Now in his late 20s, the fruits of his labour are ready for public consumption. Most of the songs on Kiss & Tell were written in the course of the last two years, but some, namely 'The Mill', 'Hotdogs At Sunset' and 'Annabel Lee' are older. I've written and recorded songs for about 12 years now, literally hundreds of them.' That doesn't sound like a lazy songwriter to me.
Unlike other songwriters, Rogowski has a storyteller's way about a song lyric, often writing in third person, or from the perspective of a narrator. I asked him why distance his own experiences from the music: I can read them as a diary and see the connection between the songs and certain points in my life, but others will have a rather hard time trying to do that. I like to weave my views and musings into stories, and in the process of becoming stories they usually get intertwined with completely different things--literature, television, you name it --so that in the end the songs are always more than mere personal reflection. Apart from that, I like to play around with language - a song like 'Julia Peculiar' is much more about how the words sound than about what they mean.' Aesthetic versus Meaning: Yet more friction.
Still, lurking below the beautiful surfaces of the music beats the heart of a true artist. Rogowski will happily tell you that his life is well balanced: he studies Anglistics and Spanish, spends free time with his girlfriend and friends, and enjoys photography, reading, and television--You get the picture. I like eating and cooking - if I don't get a decent meal at least once a day, I'm usually pretty pissed off.' When I question the absence of the classic rock-star/songwriter trappings from his life--tormented soul, angry young man-- Rogowski again refers to friction: he needs the music to keep his life in check. I might not be the balanced guy that I am--most of the time that is--if I hadn't the chance to express myself through music. Because writing and recording definitely is a form of therapy, clichÃ©d as it may sound. Writing about something always means coming to terms with it. As a writer and musician, you have the time to sit down and figure stuff out for yourself - not everybody can do that.' He goes on to say, I don't think that you have to suffer to be creative, though pain can undeniably be inspiring.'
I get him to elaborate a bit more on inspiration, and ask about artists who've inspired him, or inspire envy. Oh, now that's really, really hard,' he starts, I always envy bands who manage to capture that certain live-feel on their records, because that's something I admire but never had the chance to do until now. Wowee Zowee by Pavement, and basically everything else by them, Bleach by Nirvana, Rubber Factory by the Black Keys... you get the picture.'
I get the picture, but it's definitely not the picture I envisioned. As for influences, he says that everything I hear and see has an influence on my music, and I couldn't change it even if I wanted to. But of course there are bands, artists and albums I adore so much that they must have influenced me more than others. If I were to name five records, I'd pick Kate Bush's Hounds Of Love, Ween's Pure Guava, Eric Satie's Complete Piano Works, Pavement's Wowee Zowee, and The Divine Comedy's Promenade--and this is so incomplete it almost makes me feel bad.' Pavement? Ween? Nirvana?? Is this the same guy who wrote Hotdogs At Sunset'??
Near the end of our conversation I get Rogowski to play fortuneteller by asking him where he sees The Society Islands going after the release of Kiss & Tell. It depends a little on how well and how widely the album is going to be received. One thing I definitely want to concentrate on in the months to come is working with the band and getting ready to play live. Maybe we'll get the chance to tour, maybe we'll even get to play outside of Germany... but there are miles to go before we sleep.
If I were Rogowski I wouldn't count on a lot of sleep soon. Throwing journalistic objectivity aside, I have to say that Kiss & Tell is the most wholly satisfying album I've heard all year. Its cinematic scope reveals an album full of clever pop references, classical sensibilities, love and passion a plenty, and an artist who has clearly thrown down the gauntlet to pretenders (re: James Blunt) to the title singer/songwriter'. Sleep well tonight, Boris Rogowski, for tomorrow your Society Islands will wake to conquer the world.
- Jim Di Gioia (check out the Quick, Before It Melts music blog here)
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The Tahiti Diaries
About the origins and non-origins of Kiss & Tell
The Society Islands, or Îles de Société, are situated in the middle of the South Pacific, on the outer edge of the Eurocentric map. Boris Rogowski who releases his album Kiss & Tell' under the alias The Society Islands' isn't personally acquainted with his name givers and has certainly never set foot on either Tahiti or Bora Bora, but if Gauguin liked it, I'd probably like it, too.' Indubitably...yes. Yet if we didn't know any better...well, all of it might have happened along these lines:
3/24/2006 - After a journey of roughly 3 months, Rogowski's rowboat reaches Papetee (Tahiti). Instruments and rudimentary studio-equipment have already arrived by plane 72 days earlier.
3/25/2006 - Bored by the 'almost European' circumstances in the capital, Rogowski decides to relocate his facilities to a hut 30 miles out of town, acquires a 1 Â½-ton generator and has 30 dockworkers haul the complete equipment to his new residence. He shows his gratitude by allowing them to get beer at his place for the time of his stay on the island.
3/28/2006 - Start of the recording sessions. Since nobody in a 20-mile perimeter is able to play an instrument to a programmed beat (or sees why that should be any good), Rogowski is forced to do everything on his own (nothing new for him, really: in the course of the last decade he had written, arranged and performed a dozen of self-distributed albums and EPs). Disjoint Allocation' and Back of the Land' are recorded. His work still appears slightly western' to himself, but the dockworkers wiggle their feet to the rhythm and don't really understand what he's talking about.
4/2/2006 - Out of the blue, an old prospector appears and endows Rogowski with a bluegrass-banjo. While the old guy is allowed to use the plank bed for the night, Rogowski, for old times' sake, records the almost-country song Your Life is A Hotel' and decides to ultimately exorcise his European roots on the next day. The prospector sets out in the morning and Rogowski informs him that there's no gold on the entire island, which he accepts with a knowing smile.
4/4/2006 - After extensive study of E.A. Poe's poetry on the beach, Rogowski decides to attempt a musical version of Annabel Lee'. Unfortunately he isn't able to find a comfortable polyrhythm and grumpily reaches for his acoustic guitar yet again. The result is a traditional piece of folk music in...ehm, 6/8 time - yet the melody is so righteous and beautiful that he can sleep peacefully.
4/7/2006 - A box of records is washed upon shore: exclusively 60s Soul albums. Rogowski accepts his fate and powers up the sampler. Diner Song' and Hotdogs At Sunset' are recorded, and while he listens to the playbacks, some surfers from the adjacent beach arrive and wave happily at him.
4/9/2006 - Love Under Palms' is created. Rogowski has since abandoned his second thoughts and acknowledges that the song has at least some kind of exotic vibe'. Luckily, the surfers have to leave the next morning to catch their flight.
4/15/2006 - In Papetee, Rogowski purchased the photo wallpaper deciduous wood and domestic songbirds' with which he now lines the walls of his hut. The Mill', Pussywillow' and the Kate Bush-cover Under the Ivy' turn out to sound correspondingly rural. In the evening Rogowski visits a beachside bar to have a couple of beers (unsurprisingly, his own supply has quickly been consumed by the dockworkers). Here, the first season of The O.C. runs on pay-TV. Rogowski jots down the lyrics to Julia Peculiar' on a paper napkin.
4/17/2006 - After Julia Peculiar turns out to be the most cheerful song of the record, Rogowski digs deep into his subconscious and returns with Eyes Facing Inward' - an adequate counterweight.
4/21/2006 - Inspired, Rogowski dives deep into his childhood memories to gather material for 'House of the Syrens. Realizing that he has taken his private play with nostalgia to its limits, he declares that the album is finished. Since he got all information on his western home from tabloids that arrived with considerable delay, he decides to call the album Kiss & Tell'. But all's not yet done...so he invites an American tourist to his hut just to get him sloshed. He then disappears to the beach with the guy's cell-phone to make four calls.
4/25/2006 - Andreas Kriegeskorte is the first to arrive on the scene. He and his entire drum-kit depart the plane via parachute. He immediately starts to construct a laterna magica out of old slot-machines with which he projects the drum sheets on a cliff wall near the beach and replaces 75% of the programmed beats with live drums in a single session.
4/30/2006 - Moishe Lichtfuss and Dr. Nick arrive sufficiently besotted on the luxury-liner Luv yer Roots' and record their bass and guitar-takes for Julia Peculiar' without further comments.
5/5/2006 - Isis Zerlett had some trouble with her hovercraft somewhere off Patagonia. That's why she arrives a little late, yet extremely well prepared: Her part on the infidelity-drama Rodeo', as well as her background vocals on other songs are swiftly recorded.
5/7/2006 - Time to go home. Rogowski decides to give a shit and procures an inflatable model of the Statue of Liberty equipped with two outboard engines, on which the whole bunch and all the tapes reach home 14 days later.
Thus ends our imaginary travelogue. And we'd very much like to end here, too, and let the respected reader contemplate the different stages of the creation of Kiss & Tell' while listening. In the end it's his or her decision to say whether this diary is an adequate guide to The Society Island's debut and if everything...well, could actually have happened like this. Ultimately, we can't pretend that any of this has really happened and that, in reality, it was like this: Kiss & Tell' was recorded in a small studio in a cellar in Cologne, Germany (where Rogowski lives, studies and works as producer, engineer and remixer) - in total absence of sunlight, and everyone who participated actually arrived by car or public transport. Whether fact or fiction are more suitable to describe the album is left to decide. Yet it's a fact that an enthused listener told Rogowski that to him, listening to the album felt like traveling 'round the world minus the jet-lag', while Rogowski replied: That's nice. Well, for you that is.'
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The Society Islands
Label: TRC - The Record Company
Print and Online Promotion Agency (Germany): Another Dimension
Radio Promotion Agency (West and South Germany): Scherbaum ConneXion
Radio Promotion Agency (North and East Germany): Calufo
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Site concept by Stephan Kriegeskorte
This page was created by Stephan Kriegeskorte, Roland Münchow & Boris Rogowski