Freitag 05.04. 19:00 Uhr Musik
little league shows
puschen & little league shows prsnt: EN ATTENDANT ANA (indie, fr, trouble in mind recs) + tba.
Event Bild
doors 19, show 20h, djs after 22h.

puschen & little league shows prsnt:

EN ATTENDANT ANA / indie, fr, trouble in mind recs /

+ tba.

at Schokoladen. doors 19 uhr, concert starts 20 uhr. pre-sale tickets available --> 

aftershow djs tba.

- - -

Parisian quintet EN ATTENDANT ANA have dazzled since day one. From the muted strains of their 2016 EP “Songs From The Cave”, to the assured 2018 TiM debut “Lost & Found”, to the sparkling refrains of “Juillet”; released just before the world collapsed around us, and which stood as the band’s rebirth and purest statement of their music ambitions - until now. “Principia” is the band’s third album and is without a doubt their best yet. 

Bandleader & principal songwriter Margaux Bouchaudon’s voice anchors many of the songs on “Principia”, her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on “Principia” were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of “Juillet”- feels more “moved-in” on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for “Juillet”, replacing founding member Antoine Vaugelade)’s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin’s metronomic swing. The band’s secret weapon, multi-instrumentalist Camille Frechou’s trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group’s already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon’s lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says “One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment”. 

But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of “Principia”. Apart from reshaping En Attendant Ana’s dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon’s demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. 

“Principia” is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group’s penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there’s an air of - dare we say - maturity in “Principia”s twelve songs. The group always felt a little ‘out-of’ and ‘ahead-of’ its time, but tunes like “Wonder” “The Cutoff” and “Same Old Story” are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Samstag 06.04. 19:00 Uhr Musik
little league shows
dq & little league shows prsnt: MELENAS (indie rock/fuzz-pop, es) + tba.
Event Bild
doors 19, show 20h, djs after 22h.

dq agency & little league shows prsnt:

MELENAS / indie rock/fuzz-pop, es ///

+ tba.

at Schokoladen. doors 19 uhr, concert starts 20 uhr. pre-sale tickets available --> 

aftershow djs tba.

MELENAS are a garage fuzz pop reverbcore group from Pamplona, Spain who will make fans of The Feelies, Stereolab and classic C86 jangle pop fall for their shimmering guitars, sweet melodies and driving rhythms. They also add a touch of sun-kissed, soft focus psych to their sound. Brilliant melodies, fresh bass lines, acid keys and a Lindy Morrison drum style are adorned with fuzz and phasers and surrounded with heavenly vocal harmonies.
After having toured their two first albums (released via US label Trouble In Mind) worldwide with shows at Primavera Sound, SXSW (twice), Eurosonic, Benicassim, all over the UK and France and even at the New York Fashion Week (where they performed at the Ulla Johnson runway), in 2021 they won the MME Awards at the Eurosonic festival, a prize that has been previously won by Rosalia, Hinds, Fontaines DC or Dua Lipa.
In 2021 they released their celebrated cover version of the classic tune Eisbaer by Grauzone, and 2023 sees them full of energy, about to release their much awaited third album, Ahora, out in the fall via Trouble In Mind Records and Mushroom Pillow.

"Big ‘Spanish Stereolab’ energy with its lush keyboards, driving krautrock pulse, and chic Euro-pop vocals"
→ Stereogum

“A real charmer where you might not even notice they’re not singing in English, and it’s rarer still that you get an indie rock record of this quality in this day and age in any language”
→ Brooklyn Vegan

“A really cool album”
→ Henry Rollins on KCRW

Freitag 12.04. 19:00 Uhr Musik
Wood In Di Fire (Ska, Jazz, Reggae, Rocksteady) & Everything Crash (DJ-Set)
22h Everything Crash DJ-Set (laboratory for Ska, Rock Steady & Early Reggae)

Mit Jamaican Jazz und handfesten Reggae-Grooves bringen  bei ihren Live-Sessions die Dancehall zum Toben. Was  als Jam-Projekt von Musikern aus verschiedenen Berliner Bands begann, hat sich zur festen Formation entwickelt. Doch  der Session-Gedanke ist  immer noch lebendig: Die Bandmitglieder und Gäste bringen die verschiedensten Einflüsse aus Reggae, Jazz, Ska, Latin und Afro-Beat mit und sorgen damit immer wieder für überraschende Kicks. 
Auf zahlreichen Touren durch Deutschland, Österreich, Frankreich, Spanien, Ungarn und der Schweiz begeisterten Wood In Di Fire ihr Publikum mit ihrer außergewöhnlichen, interkontinentalen, musikalischen Fusion auf treibenden Reggae Beats und Jazzy Grooves.
Seit das Projekt im Jahre 2000 startete, spielt Wood In Di Fire traditionell im Berliner „Schokoladen“. Der bis heute monatlich stattfindende Reggae-Jam wurde schnell vom Geheimtipp zum etablierten Termin der Berliner Reggae-Szene.

Montag 15.04. 19:00 Uhr Musik
Courting (indie/uk)

Courting (indie/uk)

  • Einlass: 19 Uhr
  • Beginn: 20 Uhr



From the funk-pop guitars in “We Look Good Together” through to the baroque strings in “Flex” or even the country-tinged stylings of “Babys”, it would be an understatement to call “New Last Name” adventurous. That’s all before you even come onto the drum and bass drumming of the vibrant and vital “Happy Endings”.

Going on to speak about the album, Murphy O’Neill says, “I’ll admit that New Last Name isn’t really a play. Whilst it IS tied together by a narrative thread – it’s actually a collection of our most contained pop songs, and strangest experiments sat side by side. 

New Last Name is unrestrained and chaotic. At the same time, it is more focused and detail-oriented than anything we’ve done before. New Last Name is a study in contradictions, and it’s the best damn play south of the north pole.”

That play goes on the road next year, with the band also having announced a new run of EU / UK tour dates to take place in Spring next year. Having cemented themselves as a must-see live act, Courting recently toured as main support for Circa Waves. The band also toured “Guitar Music” extensively last Autumn as well as performing at multiple summer festivals including Reading & Leeds Festival, Wide Eyed Festival, Latitude, Truck Festival, Live At Leeds, Community Festival, and The Great Escape. They also came together earlier this year for “The Wedding” – a hometown wedding-themed show which saw the band unveil new material for the first time – which NME reviewed, describing them as “one of the most innovative and elevated acts of the moment.” 



Freitag 19.04. 19:00 Uhr Musik
Baby Jesus (swe) + LUFT
+ residence DJs Marycherry&Telegram Sam and Guest Psychic Thrills from Sweden& Yuki Onna from Berlin

Fiery, raw, and raucous, four-piece garage rockers, Baby Jesus, are keeping rock and roll alive and well in their hometown of Halmstad, Sweden, with psychedelic flare, a punk edge, and enough energy to heat up a hearty dinner of Sjömansbiff for 12.
Founding members and long time friends. Fredrik Kristoffersson (guitar/vox) and Elis Jäghammar (bass/vox), spent a few years together in various metal and hardcore punk projects.
It wasn't until they both moved to Oslo, Norway, in 2011 that they discovered and became infatuated with the 13th Floor Elevators— a legendary mid-sixties rock act from Austin, Texas largely credited with coining the phrase “psychedelic rock.” The Elevators’ music hit Elis and Fredrik like a rock. That experience opened their ears and writing sensibilities to the music of Night Beats, Black Lips, a range of Back From the Grave compilations, and—funny enough—Pugh Rogerfeldt, Träd, gräs och stenar, Philemon Arthur & The dung, and other great Swedish talents who made the rounds on their country’s turntables in the late sixties and early seventies with their wild and often experimental amalgamations of rock, psych, folk, and country music.
2023 comes with new offerings i the form of the album simply titled "Rock n Roll Music" (for why lie when it's true). The album is filed with Rolling Stones-esque songs with lots of things going on in the background. There’s a neat rhythm guitar, fuzz and a solo that’s slippin’ and slidin’ all over the place. A rock n roll piece that inevitably will become a standard on every single god damned young rock ’n’ roll bands setlist in the future.

LUFT is a band, primarily British and based in Berlin. Formed in 2023 by Tom Dougall of Toy and various other members of the London music SCENE, they draw inspiration from British eccentrics, pagan holidays, the bed, Nico & Lou & John and 50p in the jukebox – ethereal and ready to DISH OUT. Catch them soon at a venue near you.
+residence DJs Marycherry&Telegram Sam and Guest Psychic Thrills from Sweden& Yuki Onna from Berlin
And vintage film screenings
Tickets here
At door 12€

Samstag 20.04. 19:00 Uhr Musik
Pink Wonder (punk, bln) + Günther and the Jauchs (punk, potsdam)

PINK WONDER (punk, berlin)

Vorsicht Explosionsgefahr. Hallo Stooges auf Highspeed. PINK WONDER machen nicht diesen angesagten Punk-Sound, sondern bleiben dreckig. Dazu eine gewisse Portion Madness, die den Punk mal gefährlich und anziehend machte. Hier ist Wut nicht einstudiert, sondern Folge der Desilussionierung von Menschen in ihren Mittdreißigeren. Jeder Song ein Übergeben in die Gosse.


Ein abschreckender Name, aber super Band. Und Punk war nie süßer. Die drei harmlosen Potsdamer Agitatoren von Günther and the Jauchs hassen schnellen, anstrengenden Punk. Aber sie können nicht anders. Hektische Lieder unterlegt mit Abrisslyrik und Theatralik – eine musikalische Baggerfahrt durch den Stadtpark. Niveau, Ästhetik, Athletik, Stress. Alles nichts für Günther and the Jauchs .


Mittwoch 24.04. 19:00 Uhr Musik
little league shows
little league shows prsnts: MARKER STARLING (indie-outsider-pop, can, tin angel recs) & ELIZA NIEMI (songwriter/exp-pop, can)
doors 19h - show 20h

little league shows prsnts:

MARKER STARLING / outsider-pop, can, tin angel recs / 

& ELIZA NIEMI / songwriter/exp-pop, can  /

at Schokoladen. doors 19 uhr, concert starts 20 uhr. tickets at the doors and in pre-sale --> 


Toronto troubadour Chris A. Cummings (MARKER STARLING, formerly Mantler) has been
playing Melancholy Party Jams since 1999. A solo performer for many years, his
preferred weapons were a Wurltizer electric piano and an early pre-programmed drum
machine. More recently he has been supported by a Toronto-based band consisting of
Dorothea Paas (vocals, guitar) Jay Anderson (drums), Matt McLaren (bass) and Andy
Scott (guitar and keyboards).

Cummings has in the past collaborated with the German band Von Spar, contributing
vocals and lyrics to their albums STREETLIFE (Italic, 2014) and UNDER PRESSURE
(Bureau B, 2019). His song “Deep Background” was recorded by Stereolab’s Laetitia
Sadier for her Source Ensemble record FIND ME FINDING YOU (Drag City, 2017). His
2010 song "In Stride" was included in DJ Koze's DJ-Kicks compilation on !K7 Records in
2015. He has opened for Stereolab, The Books, Destroyer, Yo La Tengo, Gary Wilson and
Sandro Perri, and also plays in the bands Matias, Hank and The Canadian Romantic.


Our earliest exposures to music can often be the most formative. For Toronto-based songwriter and multi-instrumentalist ELIZA NIEMI, that influence came from her Dad who taught her the basics of bass and guitar at home. These childhood experiences of playing music together by ear fostered the sense of playfulness that she’s approached her craft with ever since. They also instilled an ethic in her creative work that prioritizes making music with friends and loved ones.

Those honed guitar —and later piano, cello and vocal— skills make Eliza an ideal collaborator: starting in Halifax’s rich music scene with the mid-2010s experimental pop groups New Love Underground and Mauno, and later in her role supporting artists Le Ren, Quaker Parents and Evan J. Cartwright. Through the rhythms of touring and the brilliant spark that's shared in musical exchange, Eliza found and developed connections across Canada's DIY music communities. These collaborative moments fuel her creative practice, whether playing solo, in an ensemble or releasing others’ music as the founder of her own label, Vain Mina Records.

Connection and collaboration lives in the intimacy of her albums, starting with 2019’s Vinegar, an understated set of songs for cello, keyboard and voice that wander with a comforting grace. 2020’s Glass furthered Eliza’s reputation for writing songs that are boundless and experimental without ever being alienating. There’s an open, inviting quality throughout the record, apparent from the close-miked instruments, to her softly sung and affable lyrics that unfold like a conversation with a good friend.

Her latest album, Staying Mellow Blows, furthers these ideas and aesthetics to a staggering degree, retaining the candor, humor and emotional humility she’s known for, while letting the vast number of supporting musicians shape each song with their own emotionally resonant performances. The result feels whimsical and inspired, and is the sound of an artist flourishing.

Donnerstag 25.04. 19:00 Uhr Musik

Cranking out frenetic rock’n’roll with influences from garage rock, punk and psychedelic rock. They deliver doomy lyrics set to wild sounds reminiscent of a Back from the Grave compilation. 
“The Kinks on Speed!” (Amplified Magazine) - that are Nix and the Nothings from the west coast of Bergen, Norway.
Their first record “Here Goes Nothing” has been played extensively on radio stations all over the world such as the BBC. The band played their first international show at the legendary Garage festival "The Wild Weekend" in Mallorca, followed up by a Germany tour including a show at "Berlin Beat Invasion" Underground festival. 
They are coming back to Germany to promote their second album, “Utterly Useless”, which will be released this spring.

Listening to THE OTHER PLACE is like making a journey into a strange land, familiar and yet peculiar at the same time. Like many of their predecessors from the sixties, the band is attempting to build something else from its love for Rock’n’Roll and Rhythm’n’Blues.
THE OTHER PLACE draw inspiration from the kind of music that you could hear in an old shack of Louisiana, a sweaty cave in Liverpool, a garage in the suburbs of Boston or a wild club on Sunset Strip.


Freitag 26.04. 19:00 Uhr Musik
Punkfilmfest Berlin Booking
Concrete Lipstick (Punkrock/Dresden) + TBA
Samstag 27.04. 19:00 Uhr Musik
little league shows
puschen & little league shows prsnt: STUCK (post-punk, us) + tba.
doors 19, show 20h, after 22h DJs

puschen & little league shows prsnt:

STUCK / post-punk, us /

+ tba.

at Schokoladen. doors 19 uhr, concert starts 20 uhr. pre-sale tickets available -->

aftershow djs tba.

Working at a mixing board one night, a catchphrase popped into Greg Obis’ head: “freak frequency.” He was ringing out feedback during his job as a sound engineer, and started to picture the parallels between acoustic physics and political trends. “If you think about a waveform, as the frequency rises, the space between the sine waves gets less and less,” Obis explains. “With that downward trend comes constant heightening, stress and tension.” He came to see freak frequency as an apt metaphor for the decline of Western empire, an inverse relationship between the (positive) deterioration of American hegemony and the (negative) worsening of daily life under that fall. It was a fitting title for the new material Obis was planning for Stuck, the frenetic and twisted post-punk outfit he formed in 2018. Inspired by the doomy social economics of Mark Fisher’s Capitalist Realism, the bleak worldbuilding of horror games Demon’s Souls and Bloodborne, and the bombastic yet arty satire of Devo, Obis channeled his audio analogy into Freak Frequency, an album ringing out with explosive sounds and ideas. Though its songs tackle the violence of wealth, the nightmares of technocracy, and the rise of the conspiratorial layman, Freak Frequency is Stuck’s quirkiest record to date—compositionally challenging and equipped with menace, yet dotted with vibrant fun. “Being in a brooding post-punk band isn’t that appealing to me,” jokes Obis. “When things are bad, all you can really do is laugh.”

Stuck formed after Obis’ previous projects, Yeesh and Clearance, called it quits in short proximity. Obis is on guitar and vocals, which span from booming theatrics to ecstatic yelps. The project’s rhythm section is completed by shoegaze guitarist-turned-chugging bassist David Algrim and tightly wound drummer Tim Green—also a graphic designer, and the artist responsible for Stuck’s distinctively unified visual aesthetic. Original co-guitarist Donny Walsh contributed freely inventive lines for the first few years of the project, including on Freak Frequency; Ezra Saulnier of Red Tunic, the newest member of the band, now brings calculated contrapuntal riffs to match Obis’ parts. The building blocks of Stuck include the egg punk eccentricities of Uranium Club and The Coneheads filtered through noise rock power, à la Jesus Lizard or Slint; that melange is glittered with the precision microtones of Unwound and Women. “I want the feeling of immersion and chaos and tension, with a big guitar amp playing a big chord,” says Obis of his inspirations, citing friends and peers Cloud Nothings and Preoccupations. “But I want it delivered by having a lot of smaller points of light poking through.”

At first, the new project had meager goals—it would be an excuse to open for friends’ bands when they toured through Chicago. 2020 debut Change Is Bad was released by Born Yesterday, the beloved Chicago indie co-run by Obis and Deeper’s Kevin Fairbairn. It was recorded at Jamdek Studio, and though it earned Stuck national press and tours with kindred post-rockers Pile and Blessed, Obis claims his band’s ambitions were low. “It’s a real meat-and-potatoes post-punk record,” he says. Content That Makes You Feel Good, a followup EP that saw Obis move into the role of recording engineer, introduced new textures, including ornamental synths; it was released in 2021 on Brooklyn’s Exploding in Sound. “We tried to be more ambitious with production on the EP, and Freak Frequency is a continuation of that,” Obis notes.

In fact, writing for Freak Frequency began while Content’s recording was still underway—beginning with “Scared,” which features acoustic layers under feedback squalls. “Time Out,” with motoric guitars in the sputtering lineage of Wire, was also composed in late 2019. Obis wrote it about the cycles of compulsion and shame woven into social media use, and the way negativity drives algorithmic engagement. It became an exciting exercise for the group in ramping up speed; “I thought I knew how far I could push Tim’s tempos,” Obis recalls. “But Tim kept insisting we do it 20 bpm faster than what I had. He is an absolute monster for playing that.” Album opener “The Punisher,” a spiral staircase of disembodied guitars and rhythmic slams over a 2/4 beat, came in the aftermath of the January 6 insurrection. It felt immediately emblematic to Freak Frequency, and Obis describes it as his favorite Stuck track: one he wishes he could write again and again. “It hits all the boxes that Stuck can do: it’s goofy, but there’s a lot of intricate guitar interplay, and at the end, there’s a big payoff,” he explains. The last song written was “Do Not Reply,” a pre-album single that came to Obis after engineering for Melkbelly and channeling their earworm melodies. Algrim wouldn’t let it on the record unless Melkbelly’s front person Miranda Winters dueted on vocals; she was happy to oblige, and the gritty epic closes Freak Frequency.

With Obis resuming engineering duties, recording took place over eleven days at Chicago’s Palisade Studios. Additional flourishes included saxophone, with skronky riffs provided by Sarah Clausen (Algrim’s bandmate in Gentle Heat), and synthesizers, which Obis studied during the pandemic. Eventually, the songs were handed off to mixer Graham Walsh, hired for his sure hand on Metz’s recordings. “We wanted somebody who could take the tracks I recorded and fuck them up and bring the life out of them,” explains Obis, who added final touches to Freak Frequency at Chicago Mastering Service, where he dayjobs. Stuck has also returned to Born Yesterday to release Freak Frequency. “I’m stoked to be in good company with Landowner, Caution, Cafe Racer, and all our bands,” says Obis of his roster.

With slippery snark, percussive heft, and funhouse mirrors of sludge, Freak Frequency delivers its needed screeds with gratifying nuance. If Stuck’s interpretation of this messed-up world goes down like a bitter pill, it’s only because its sugar coating is too delicious to keep from eating.