EMILY'S SASSY LIME - DESPERATE SCARED BUT SOCIAL (Kill Rock Stars, 1995)

When it comes to riot-grrrl bands, your Bikini Kills & your Bratmobiles tend to get a lot of attention, but Emily's Sassy Lime might not have made it onto your radar (fittingly enough, they apparently formed after a Bikini Kill/Bratmobile show in 1993 that they had to sneak out to attend - rock & roll high school!) . Maybe it's because they were from Southern California & not Olympia. Their backstory is an almost textbook example of early/mid-90s DIY punk: three teenage girls who didn't own their own instruments & were forbidden from practicing by their parents start a band, swapping borrowed instruments at shows & writing songs over answering machines until they all graduate high school, go to college & break up the band. Somewhere along the line (okay, it was 1995), Kill Rock Stars puts out their sole album, Desperate Scared But Social. Like their more twee spiritual forebearers Beat Happening, the songs are often not "songs" as much as shambling, charmingly awkward bursts of giddy noise. Snotty vocals, off-kilter rhythms & we-know-we're-amateurish-but-we-don't-give-a-fuck attitude - they were doing it all in Southern California a good decade before Mika Miko came along. This whole sound seems to be popping up in the influence lists of more & more contemporary female-fronted punky-noise-pop bands (Wetdog & Pens from the UK immediately come to mind), so listen to this & fill in the gaps in your riot-grrrl education.

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THE BEE GEES - 1st (Atco, 1967)

I thought I'd shake things up a bit by posting an album that has quickly become a Spring/Summer favorite of mine. 1st, the Bee Gees' 3rd studio album, is an incredibly strong example of the band's early psychedelic songwriting and stands out as an incredible pop album.

Let's get the obvious out of the way first. The album is an unabashed response to the Beatles' Revolver, which was released one year previous. 1st includes some rather clear comparisons (see the Bee Gees' "In My Own Time" versus the Beatles' "Taxman") as well as some more stylistic nods through instrumentation (see "Red Chair, Fade Away" and "Cucumber Castle"). Even the artwork on 1st was designed by Klaus Voormann, who was responsible for Revolver's iconic cover.

This is not to say, however, that 1st should be cast aside as some sort of inferior mimic. While all the previously mentioned songs share some resemblances to a certain famous foursome, are all fantastic songs on their own accord. At the time of its initial release, the album yielded three top 20 U.S. singles ("To Love Somebody", "New York Mining Disaster 1941" and the fantastic "Holiday"). Additionally, the album does not stagger in its style, which gives it a fresh feel throughout. From the near-criminal catchiness of "I Close My Eyes" to the quirky baroque/chamber rock of "Every Christian Lion Hearted Man Will Show You" and all the others in between, 1st is an absolutely stunning record overall, perfect for the current season.

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GUIDED CRADLE - YOU WILL NOT SURVIVE (Yellow Dog, 2007)

I would think/hope that any band referring to themselves as "evil barbaric orc crust" would give one pause. More specifically, Guided Cradle play an absolutely unrelenting brand of crust/d-beat hardcore with a tasteful nod toward mid-80's thrash metal as well. "You Will Not Survive", their 2nd album, sees the band further delving into their Tolkienesque brand of mysticism while by no means limiting themselves within the confines of some sort of fantasy microgenre.

Tracks such as "Beast of Burden" and "Cities On Fire" are a great showcase of the band at their best. The track "Hold The Line" exemplifies their willingness to expand beyond their more noted (and perhaps safe?) influences. The track specifically incorporates guitar work more akin to NWOBHM/thrash than typical crust/d-beat. Such dynamism is tasteful and doesn't come across as forced in any way. With an overall much heavier sound than their self-titled debut album, "You Will Not Survive" adequately paints a fitting scene of bleak desolation, just like any self-respecting orc would want.

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MYDOLLS - SPEAK SOFTLY & CARRY A BIG STICK 12" (CIA, 1983)

I'm an expatriate of Houston, Texas, a place not usually recognized for positive things (fattest city in America, murder capital of America, the scene of the infamous Janet Jackson Super Bowl fiasco, etc.), so I feel that it's my duty to let y'all know that some of the best female-fronted post-punk of the early 1980s was coming out of none other than Space City in the form of the amazingly underrated Mydolls. They formed in 1979 & released two singles before 1983's Speak Softy & Carry A Big Stick (on CIA Records, home to the equally mind-meltingly good '80s Houston punk band Really Red), which sounds like it could have easily been a product of the late '70s Rough Trade axis. "Rape of a Culture" suggests the darker moments of the Au Pairs, "As Strange As Mine" brings to mind the stripped-down primitivism of the Raincoats & "A World of Her Own" could be an outtake from the Slits' Cut album. A flawless record; I just wish it were longer (although there's now a hefty double-disc Mydolls CD anthology on Grand Theft Audio - get into it!). Viva le femme punk.

Need any more reason to love them? They also happen to be the band playing in the bar scene between Harry Dean Stanton & Natassja Kinski in Wim Wenders' fantastically great film Paris, Texas. Fuck yeah!

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THE COMES - NO SIDE 12" (1984)

While the "No Side" 12" by The Comes is considered by many to be a seminal burst of energy from one of the very first Japanese hardcore bands, I will admit my ignorance in not being overly aware of this record until 2 or 3 years ago at best. It very quickly, however, became one of my favorite hardcore records and with a recent vinyl bootleg quickly circulating various record stores and distros, those of you unfamiliar will be pleased to find this record (somewhat) available (said bootleg is supposedly limited to a mere 500 copies).

Regarding the album itself, these eleven tracks combine a whirlwind of frantic vocals, blazing guitars and pounding drums that, ultimately, combine to make an absolutely fantastic record. No fat to trim off on this one, folks, it's an absolute classic from start to finish.

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UNREQUITED HARD ON - DEMO (Self-Released, 2003)

What we have here is a brief demo from 2003 by a band of young Pennsylvanian upstarts who referred to themselves as "Unrequited Hard On". Shortly after this was recorded, the band decided to change their name to the much more radio-friendly moniker of Pissed Jeans. Perhaps you've stumbled across them in your travels.

At any rate, this batch of songs (including the tracks 'Ashamed of My Cum' and 'Throbbing Organ', which would later be re-recorded by Pissed Jeans) properly represents the band at an early crossroads, where their various musical appearances very prevalent, making for some confusing and jarring juxtapositions within. Sometimes utilizing quicker tempos never even imagined on later recordings, you can see a bit more of a punk/hardcore nod in conjunction with the obligatory Melvins/Jesus Lizard influences.

Another aspect of this demo that I find particularly enjoyable is the recording itself. The hissy, fuzzy, general crappiness of the recording suits the band well and it only makes me wish that there was an even fuzzier, hissier version of 'Shallow' floating around somewhere.

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FUTURE VIRGINS "EASIEST YEARS" EP (Plan-It-X South, 2009)

So I figure that with Kamikaze Tailspin out of the way and with the "weird hardcore" blog market officially cornered, it might behoove me to share some poppier sensations with you all. Since the first Future Virgins EP is one of the more-often-downloaded things around these parts, and all three of their instant classic EPs are on constant rotation around my house, I figured I'd do you a solid and throw the newest one up.

I previously made the claim that "Gravity" was the best thing this band has done. Not that I'm ever wrong about anything, but I might've been wrong. "Easiest Years" encapsulates five songs that are catchier than chlamydia, expanding upon previous themes of mortality and anti-Christianity while throwing some of their most biting couplets yet out there. The songs are a little bit less deranged are recorded better than previous efforts. but you'll find each one getting stuck in your head at different times. I go back and forth on what my favorite track is on here, but once all is said and done I don't think the closer "Radio Down" can be beaten. Check it out!

POSITIVE NOISE - TOTAL OUTPUT (2008)

Here's a little tapey-poo from a band doing currently unfashionable things. In fact, this foursome would probably balk at being publicized in such a manner. They've quietly amassed a discography that spans 17 songs in 14 minutes, and this tape collects it all in one place for you. Ex-I Object, political thrashy hardcore. Their enthusiasm for their craft is palpable, and their earnestness impossible to ignore. I recommend "Holy Shit" and "I Don't Fit In" as excellent starting points. Unfortunately, unlike the "No Hardcore" 7", this collection cuts out the opening skit of a drunk punk spanging for beer money.
LISTEN.

Also, the bassist Casey has a flat-out brilliant, seizure-inducing public access television show - http://caseyandrobby.tripod.com/

Space is deep

I was introduced to this phenomenal gem only the other evening. I've watched it a few times since and felt the need to post it for others to see. Weird, harsh, trippy animation from 1983. This is most definitely NOT SAFE FOR WORK. Besides, you probably wouldn't want to even try and take this in at work anyway. Get in a real cozy place and hunker down for some weirdness. You've been warned.

Enjoy!

Malice In Wonderland animated video.

THE FEEDERZ "Ever Feel Like Killing Your Boss?" LP (Flaming Banker, 1984)

Starting the piece of sandpaper affixed to the cover, you know you're in for some abrasive shit when you pick up the debut Feederz LP. The band called it "a product to destroy all other products!", and even if the back of my copy wasn't clearly damaged from being stored against another one, I'd be inclined to agree. The Feederz message, conveyed as well through the instrumentation and venemous vocals as well as the lyrics, is vehemently anti-consumerism. No need to rationalize, just "destroy what bores you on sight!" A punk masterpiece that kicks off with an Olivia Newton John cover.

Situationist tendencies, the drummer from the DKs, one of the most blasphemous songs ever recorded (which saw initial release on Alternative Tentacles' famous "Let Them Eat Jellybeans" comp), and a frontman named Frank Discussion who made ripples at Gilman by performing with a cadaverous cat and deceased dog affixed to his person? I'm sold, although I can't stand by some of the language on here. Broken Rekkids reished this a few years ago, along with the second LP and a (surprisingly decent) third, new LP by a reformed Feederz. They run the gambit from essential (this) to quite good. LISTEN.

THOMAS JEFFERSON SLAVE APARTMENTS - NEGATIVE GUEST LIST (Siltbreeze, 1994)

Thomas Jefferson Slave Apartments' snide mania with pop formalities would seemingly fit nicely into today's noise rock niche. For that reason it is not surprising to find this band being mentioned more and more, finally earning their due after a mere 20 years in existence. After releasing a series of self and independently released singles and EPs (including the formidable "Negative Guest List" on the Silt Breeze label in 1994), Thomas Jefferson Slave Apartments found themselves releasing their debut LP, "Bait and Switch" on Rick Rubin's American Recordings in 1995. Retrospectively this might seem like a peculiar fit, but keep in mind that American's mid-1990's output included releases by Flipper, Danzig, Love And Rockets, V.3, and select others.

That aforementioned snide mania is ever-present on "Bait and Switch" (see 'Is She Shy', 'RnR Hall of Fame', and 'Cyclotron'), as are those pop sensibilities that give Thomas Jefferson Slave Apartments their timeless sound (see 'My Mysterious Death', 'Down To High Street', and 'You Can't Kill Stupid'). I could go on to describe the various nuances of other tracks, but quite frankly this record is too good for you to be wasting your time reading this while you could be listening instead. While some might have treated this album upon its release as a dollar bin throwaway, those in the know treat it as the classic album it truly is. And for those who have never listened, the decision is now yours to make.

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TOP TEN (too)

in no order

Eat Skull - Wild & Inside
Estrogen Highs - Tell It To Them
Hatred Surge - Deconstruct
Marked Men - Ghosts
Iron Age - The Sleeping Eye
Dinosaur Jr - Farm
Raekwon - OBFCLII
So Cow - s/t
Sonic Youth - The Eternal
Propagandhi - Supporting Caste

Honorable Mention: Shrinebuilder - s/t, Nodzzz - True To Life 7"

TOP TEN

Iron Lung/Walls/Pig Heart Transplant - "Public Humiliation" LP
Cult Ritual LP
Ringers "Hurry Up And Wait" 12"
Foreign Objects live
Estrogen Highs "Echo" b/w "They Told Me I Was Everything" single
Nude Beach demo
Panzram demo
Drunkdriver+Mattin "A List of Profound Insecurities" 12"
Future Virgins "Easiest Years" 7"
Drunken Boat new splits and live