Bisybackson started around 1994, when Dan de Vriend met Curtis Freitag in downtown Sacramento. Although Curtis was a guitar player, he immediately took to the bass. They recruited another guitar player, Jason Racine (Razen) for the drums, and were off… a couple seven inches later, a couple of tours found them moved to Portland. Curtis’s drug problems were getting unmanageable, and Bisybackson took a break, not to come back. Curtis died of an overdose in 1999, and this band without his intuitive bass playing is nothing.
During 1993, before the musical genre that would become known as “emo” had started to trickle through to the UK’s fledgling hardcore scene, a little-known band from Nottingham, England called bob tilton (named after an American evangelist television star) recorded a 7 inch EP for Subjugation that would come to define the label’s identity and distinction.
The second single by these Minneapolis garage poppers. The A side has girl back up vocals that remind me alot of The Lids. The B side was almost a ballad but came off as a really catchy pop song. There's plenty of grit in each song to balance the pop. If you liked the first single, you definitely want this. It's funny that Steve here doesn't dig The Fingers, because they sound what I think the Fingers were trying to go for at times. Excepting the fact that Boys Club are probably far more polite than Ralph and the Brothers White were. While "Girls of Today" is not the smash hit that "This Is My Face" was, it has an awkward charm all its own. In fact, Boys Club probably has the market cornered in lo-fi awkward white guy powerpoprock. That's not a bad thing, mind you. They're a classic example of the if-these-guys-can-do-it-anyone-can likability theory. You're honestly rooting for them, to get the girl, hit that note, finish that solo, get through the song in one piece...it's vicarious listening. Anyway, the Club add some female back-ups this time that I like quite a bit. This tune's OK with me. On the B-Side they up the raunch to GG levels with some nasty scuzz guitar...nah, I'm just kidding. They do a song about wanting to get a girl on the flip side. A little bit less charming but a little more awkward than "Girls of Today". I can't decide if that means I like it more or less right now...Overall, good record if youre into the Raspberries and Supercharger at the same time.
Danielson is an American rock band from Clarksboro in East Greenwich Township, New Jersey, that plays indie pop gospel music. The band is known for Smith's squeaky, falsetto vocals, innovative musical arrangements, and matching nurse uniforms, "that act, according to Daniel, as 'visual reminders of the spiritual and emotional healing taking place' within audience members." During some performances Smith has "worn a nine-foot tall, hand-made nine-fruit tree to 'bear the good fruit,'" in reference to the fruit of the Holy Spirit.
"This was the year I stopped running away from home, picked up my acoustic guitar again and changed from being Dan back to Daniel. I woke up to the fact that I have an amazing family, an amazing childhood and I began to relate everything I was thinking and doing with this in mind... I began reading the Bible and praying again and songs and art started flowing. I would meet with my dad and talk philosophy and theology and I became a child again."
The band's name suggests hostility, while signifying mortality, and rightly so: This is not happy music. Droning heavy psych-rock with sociopathic undertones might describe their sound as they seem to dwell in the dark recesses of the mind. For those of you with some demons to exorcise, Dead Meat might be your go-to shaman.
Who would have thought that our interplanetary invasion would happen when we were least expecting it, and with such an extensively fancy percussion unit? Chicago’s protozoic cellular mass of prog/psych outer space noise, E.T. HABIT has been inhabiting our secular sphere for many moons now, and we’re palpitating wildly in anticipation of their maiden vinyl forging on this debut 7” single. A nightmarish explosion of glitter and blood, culminating into their gut-wrenching, earth-moving early ‘70s je ne sais quoi, that can’t clearly be quantified with its Alice Cooper Band/Hawkwind comparisons so much as it’s theatrical ambiance.
"Some of Far-Out Fangtooth’s early explorations with extensive noise jams and jangly pop are still apparent in their current output, although they’ve undeniably set out on a much darker path. They flirt with bleak goth-like sounds and imagery, while the hazy psychedelic undertone of 2013’s Borrowed Time LP provides the listener with an unexpected drone-like buzz."
"Ground Round, what a horrible name. We constantly tried to change it but no one would let us.
We existed from 1991 to 1996. We put out four records, went on three tours across the United States, and played whenever we could in and around Santa Rosa, CA.
We acquired our first record deal when Gabe ran naked through Sonoma Coffee Company, therefore scoring 1,200 points in the “Win A Record Deal” scavenger hunt hosted by Kirbdog Records."
Ground Round were sonically on par with Crimpshrine, Soup, and Unfun-era Jawbreaker. As far as their subject matter of choice, GR hovered around similar terrain as the aforementioned, venting on relationships and everyman socio-political concerns, though nothing particularly heady.
Santa Rosa's Ground Round throws about every Bay Area influence into a blender. You can hear elements of Jawbreaker, J Church, The Potatomen and Pansy Division. Not surprising since bassist/vocalist Gabe Meline played in Tilt and the Mr. T Experience and drummer Adam Labelle played in the Potatomen.
West coast light-breather Infinite Body emits a dense harmonic sound cloud that condenses in yr ear before evaporating into the ether. California DIY heroes No Age go minimal with “Wintry KK,” burrowing into tom-rolls and melodic distortion. Artwork by Cody De Franco.
Jennifer Herrema from Black Bananas (and of Royal Trux/ RTX notoriety) teams with indie darling Kurt Vile and heavy music lifer Scott "Wino" Weinrich to interpret two classic "Stones jams".
Side-project of Junge, singer of legendary german punk band EA80! This time under his pseudonym KILLER, a split-7" with german Grind-Death-Punk Kult-Band JAPANISCHE KAMPFHÖRSPIELE!
...And what's the difference then between KILLER and KILLERLADY? Easy enough: As KILLERLADY he's using (or abusing) the lyrics of songs from other bands/artists, and writing new music to it. But as KILLER it's all from himself, lyrics and music. With his song "Dis-something" the KILLER fuses Discharge with a swinging Jazzbrush in an exothermic reaction. Distorted and pissed in less than 2 minutes.
While JAKA celebrate on their side with "Die Zombies Kommen" nothing less than the first socio-critical GRINDMUSICAL. Or the deconstruction of the whole metal scene? More than five minutes playing-time of absurd.
"LAZY MAGNET, aka Jeremy Harris, American born in Sèvres same (!!!), is a veritable musical chameleon eating. Nobody can predict what will come out in record or play in concert: the noise of the dance, folk, pop, music room, the hard core, drone, the cold wave of doom , the electro-acoustic, metal, punk, the trash, etc.. In his first real album "He Sought For That Magic By Which All The Glory And Mystic Chivalry Were Made To Shine - or - Is Music Even Good?" he mixes all those genres even. LAZY MAGNET deserves that invented a genre name, like SGF (without fixed type) ... In a world more just and perfect LAZY MAGNET and his comrades as unsung Providence Work / Death, Noise Nomads or Geoff Mullen, play alongside their fellow Lightning Bolt in parks for outdoor concerts free to an audience of excited fans who know by heart their work."
Formed in 1985 in Hertford, UK. Initially a 4 piece comprising Paul Rixon on guitar and vocal, Bill on guitar, Stuart on bass, Mark Flunder from the Television Personalities on stand up drums.
Mecca Normal is an influential two-piece indie rock band from Vancouver, Canada. Formed by Jean Smith and David Lester in 1984, Mecca Normal is considered one of the archetypal, pioneering leaders of the riot grrrl movement. Smith writes lyrics and sings in a style that is often confrontational and laced with feminist themes; Lester’s melodic yet dissonant guitar swirls and loops around her vocals. Merging the personal with the political in their songs and art-related activism, they helped define the sound and spirit of the early diy / indie rock / riot grrrl movement alongside bands such as Beat Happening and Bikini Kill.
Mocket, an Olympia, Washington-based punk band, was comprised of Audrey Marrs, Matt Steinke, and eventually Carolyn Rue (one-time member of Hole). The band debuted with the Pearl Drop 7” on Up Records in 1995
This is a particularly chilling vinyl debut. Nerve City's music is always atmospheric and often depressing, but "Bars" descends to a harrowing new depth. Drawn out at a deliberate pace, the layers of reverb and menacingly slow pick slides spin a cavernous, hopeless tale of woe. It's haunting—I wouldn't want to play this on a bad day. "Over It", on the flipside, may offer some relief. It is a stellar garage stomper, recorded in the same cave as "Bars" but up tempo and with lively hooks.
Shadowy Men on a Shadowy Planet was a Canadian instrumental rock band with a strong surf influence, formed in 1984. The band members were: Don Pyle on drums, Brian Connelly on guitar, and Reid Diamond on bass, who died in 2001. They released a string of EPs and singles throughout the 1980s and early 1990s, achieving some success, but remain perhaps best-known for the track “Having an Average Weekend”, which was used as the theme song to The Kids in the Hall.
Silver Daggers is some fucked up saxophone, and distortion, they are really fighting to get together, and it's pretty nice when it does. I think they have some kind of affiliation with Load records of course. Impressive stuff. Indescribable.
Shearing Pinx is 2 guitars, drums and some noise, I am into silver daggers sax, but I think I am more excited about these noises.This stuff demands your attention, it is not background music.
“Alexander Graham Bell” is frantic and tense from the get-go, with an emergency-warning bassline ushering in a quick and powerful post-punk ride, somewhere between Wire’s early demos and the Popular Shapes full-length. More bands should opt for this sort of locomotive drumming, but then again, you’ve got to have some level of chops to pull it off, which Teenage Nightwar certainly do. “Letdown” is less frantic, maybe think Wire circa Chairs Missing, which anyone with ears will enjoy. Both songs are over in a flash, leaving me with a taste for more. Very nice indeed.
