The Youths were young, bored and from Lisbon, a dead city for punk rock.
Tit Wrench were a experimental noise unit from grew out of the ashes of Neighborhood Watch in the late 1980s and spent several years making electronic punk songs, putting out records, playing shows, etc.
An American indie rock band from Arlington, Virginia, formed by housemates Jenny Toomey and Kristin Thomson in late 1990 to play at New Year’s party. They enlisted former housemate John Pamer to play drums and Andrew Webster from Jenny’s previous band GEEK to complete the line up.Following their inception, Tsunami split their time between touring, recording various 7” singles and devoting time to Toomey & Thomson’s Simple Machines record label- from which Tsunami would release the majority of their own music.This record came out on an Australian label. All copies were on red vinyl. Both tracks were later included on the World Tour and Other Destinations CD.
Welcome back to the dated sound of the 90's.Tracklist
A1 Circus Lupus - New Cop Car
A2 Jack O Nuts - Gearjammer
B1 Crain - Blistering
B2 Derelict Hotel - Nailhead
A single sided 7 inch on an Italian label with a band from Germany, Spain and Portland. Spider Babies being the standout track due to the snotty vocals but all decent tracks in a little over six minutes.Tracklist
A1 Jet Bumpers - Sonic Reducer
A2 Pleasure Fuckers - What Love Is
A3 Spider Babies - Ain't Nothing To Do
A limited edition 7" featuring “Belong” b/w “Phone Call”, two tracks from the 2009 Washed Out High Times EP. Offered only as a pre-order bonus with the 2011 Washed Out album, Within and Without. This is the first time these songs are available on vinyl.-- So whats it sound like? Chill wave.
"Guess this new WOODS EP is a more unconscious approach to the written song. A side is a 3-part tape collage/head scratcher called Days Gone By. B side features new easy breezy psych rock single, I Was Gone and the drugged out tribal child, Hang On. Its crunchy. Take with some honey slides"
This split 7” begins energetically, popping off with Xander Harris’ cut, “The Driver”. The pulsating, eruptive synths make this a perfectly danceable tune if you weren’t busy accelerating through a neon-outlined metropolis, wreaking gleeful havoc along the way. As the high-speed pursuit comes to a close, we are greeted to Dylan Ettinger’s more methodical, more insidious cadence of the flip-side “Tipoff”. There’s a surreal whirring and blur afoot on the synth-work which is reinforced by his ominous, otherworldly incantations.
Village Voice: What is "Crystal" about?Xray Eyeballs frontman O.J. San Felipe: "Crystal" started off as a song about these girls I knew who did too much crystal meth, but somehow it evolved into kind of a break-up song, unexpectedly. So now it's a crystal meth breakup song! Village Voice: What inspired it musically?
Xray Eyeballs frontman O.J. San Felipe: I was inspired by New York City in the late-night hours. Just ending up at random places with random people and situations and exposure to danger and shady things . . . I like going out dancing, and I wanted to make a song that DJs can throw on and make people dance at the immediate drop of the needle, or right when the bassline kicks in . . . kinda like when the Cure's "Just Like Heaven" comes on at a party and people freak out. Not to say we sound like the Cure or anything, but the way people lose it when that first bouncy drumbeat and bassline comes on, that's a hard thing to capture.
The Insaints were an American punk rock group from Modesto and later San Francisco, CA, fronted by controversial vocalist Marian Anderson from 1988-1994. She was noted for her powerful, sexually charged and provocative live performances which frequently included on-stage nudity and sex acts. The Insaints made Bay Area headlines when Anderson was arrested for lewd conduct after an infamous 1993 performance at 924 Gilman Street in Berkeley, CA. The charges were eventually dropped after a yearlong legal battle, but the band broke up in 1994. In 2001, Anderson died of a heroin overdose at the age of 33.A documentary about the Insaints and the life of vocalist Marian Anderson, entitled Last Fast Ride: The Life, Love, and Death of a Punk Goddess directed by Lilly Scourtis Ayers and narrated by Henry Rollins, was released in February 2011. It features interviews with Insaints guitarist Daniel DeLeon, and Bay Area musicians Tim Armstrong of Rancid, Dexter Holland of The Offspring, Texas Terri Laird, and other assorted Gilman Street veterans as well as photos and footage of the band in action.Before their breakup in 1994, The Insaints had only one official release; Diesel Queens vs. Insaints, a split, double 7-inch EP with The Diesel Queens from San Jose, CA, released by Maximum RocknRoll in 1993.
Fuck yeah, Food Not Bombs rules! From the ages of 19 - 21 I worked inside of Intercontinental Ballistic Missile Silo's around the Minot, North Dakota area while enlisted in the Air Force. The amount of money and resources I saw wasted on nuclear defense system's & military personnel, not doing anything worth-while at all, was utterly staggering and unbelievable. I wholeheartedly believe that food should be a human right and not a privilege.
Stockholm, Sweden quartet, straightforward 80s hardcore--blistering drums, frantic riffing, and hoarse, shouted vocals--and flesh them out with creative song structures and unique atmospheric touches.
Compilation 7'', very 90's sounding. My favorite track being the Couch one even though there are no lyrics recorded. Apparently, the band ran out of money to pay the studio before being able to record them on.
Distored, raw hardcore in short, sharp installments. It's not all blinding thrash either. "Daily War" actually has something of a melody. Pretty tongue-in-cheek and particularly contemptuous of crusties, suicide punx, youth crew-ers and people who wear Hooters shirts. What's funny is this sounds like it was recorded on a boombox or four-track but it was actually recorded by Steve Albini at his studio. And he does a great job of making it sound like a boombox recording.
Crayon formed in 1990 in Bellingham, Washington, which is about 60 miles north of Seattle. A bit more punk than twee, Crayon were obviously influenced by bands like Beat Happening and The Modern Lovers. Their sound was a cross between the Seattle based grunge and twee. Many considered their unique style, combining heavily distorted guitar with strong indiepop elements to be the missing link between UK twee bands like The Pastels and American indie bands like Tsunami and the more abrasive Unwound. Some dubbed this new style of music “love rock," while others referred to it as “cuddlecore” due to the coy nature of their songs.
Bay area punk band from 90's with male and female vocals, sometimes political lyrics. Reminds me of Surrender, Naked Aggression, Citizen Fish, & all kinds of other bands. 'Welcome Home' pulls a guitar riff that is driving me crazy not being able to place right now.
A-side's very much like the Wurlitzer Jukebox single, a placid love song, the other side's a sad yet hopeful song about the end of an affair. Not quite as pure and stark as Low, but the same sort of sound.
Riverrun Singles Reviews It used to be clear that Hydroplane was the dreamy, semi-ambient alter-ego of the Cat's Miaow, but the Cat's Miaow's The Long Goodbye/Bliss Out EP, which consists of gauzy and ethereal reworkings of a handful of their pop songs, messed up that sharp distinction. The complement would be Hydroplane doing jangly pop, but for this single of covers (the Shapiros' "When I Was Howard Hughes" and the Creation's "If You Spoke to Me, I Wouldn't Know What to Say") they stick to the old formula, bathing Cat's Miaow singer Kerrie Bolton's breathy vocals in sourceless reverberation and murmurs of unidentified noise. Excellent music to sleep to, provided that you don't mind getting up to flip the record every four minutes
Lynyrd's Innards explodes onto the scene with 3 melodic punk pop gems that are sure to keep you singing along. 'Valentine's Day Massacre' could very well be a punk rock classic except, fortunately, the vocals are too good. Our first release, which came out on December 18th, 1993. The reason the matrix number is WE 0.5 is because we were originally going to number the releases WE 0.5, WE 1.0, WE 1.5, WE 2.0 and so on. About 5 minutes after the record came out we realized that idea was dumb. The first pressing was on toothpaste green vinyl and had the very first What Else P.O. Box address on the cover. 2 of these 3 songs were later re-recorded for Lynyrds Innards’ first full-length LP/CD. This record reached number 8 on the Rolling Stone Alternative Music Chart in the Spring of 1994. Seriously!!
