Wednesday, April 6, 2011

JUNIOR VARSITY - BAM BAM BAM! (Peek-a-Boo, 2000)



I've been threatened with chewing gum in my hair if I don't come out of my posting hibernation soon, which is as good a motivation as any. My only excuse is that I've been spending my time being a miserable grad student, so to make amends for my absence, today we have another criminally underrated band from my hometown that I love to hate & hate to love - the wonderful Junior Varsity from Houston, Texas. Fashioning themselves as a squeaky clean 1950s sock-hop combo, Junior Varsity combined everything that you could ever want in a rock & roll band - songs under two minutes about ice cream socials & pin monkeys, two girls on guitar/bass plus a boy drummer who plays standing up, a mascot named Bippy the Bear who would show up in full costume at shows, matching custom sweater vests for the band members & infectious garage-pop sounds that suggest what would happen if Cub listened to a steady diet of Buddy Holly & Chubby Checker. After banging out a couple of singles in the late '90s (I highly recommend picking up the "Go! To The Ice Cream Social" or "Pep Rally Rock" seven inches if they ever cross your path), Peek-a-Boo Records brought this full length into the world in 2000 - fourteen songs, twenty minutes, three chords. Forget all of those "surf-pop" bands everyone is going nuts over these days, because Junior Varsity is the real deal if you're looking for music perfect for doing the twist in saddle shoes at your next high school dance.

DOWNLOAD

Tuesday, March 8, 2011

BATHORY - BLOOD, FIRE, DEATH (Black Mark Productions, 1988)



A quick recap on Bathory for the unfamiliar: Bathory was a Swedish proto-black metal band whose sound, lyrical content, and imagery served as a primary influence (along with other bands such as Venom) for the wave of Norweigan black metal bands that existed in the early 1990's. Sole member Quorthorn played all instruments and again served as an importance influence upon various metal microgenres before his death in 2004.

On Blood, Fire, Death, we see Bathory continue the transformation (started with their previous release, Under The Sign Of The Black Mark) from the black metal archetype into what is now known as the 'viking metal' microgenre (this transformation was solidified with Bathory's next release, Hammerheart). This might all sound a bit haughty and unnecessary, although after taking a quick listen to tracks from Hammerheart, one can easily note the sound/style departure. In Blood, Fire, Death, we are left with a sprawling, dark, and ambitious album that has quite a mature sense about it, especially when compared to Bathory's earlier efforts. The progression of sound, toward the viking metal microgenre, is largely responsible for this, and accounts for the album's sweeping breadth, to the point where this record listens/feels almost like a film soundtrack. That being said, I think its the balance between the two styles that really make Blood, Fire, Death a noteworthy release, as it caters to the aural fixations of just about any fan of heavy metal music in general. To say that Blood, Fire, Death is an accessible album might be a bit of a stretch, and also might not serve as a proper compliment, but in my opinion it is precisely that and I most certainly use that label in a complimentary context.

http://www.mediafire.com/?sl819hqemh0p0ka

Friday, March 4, 2011

SEBADOH - WADE THROUGH THE BOGGS (self-released, 2007)



In anticipation for the upcoming Sebadoh tour in support of the reissues of Bakesale and Harmacy, I thought it would be appropriate to revisit the band's last bit of time-travelling, allllll the way back in 2007 when the Barlow/Gaffney/Lowenstein configuration of the band got back together to celebrate the reissue of the indie smash album III. Not only did Lou and Jason mend fences with the ever-erratic Eric Gaffney, but they also decided to put together this little self-released album of b-sides, outtakes, and alternate cuts, spanning from about 1989 through 1992.

While Wade Through The Boggs is nothing overly spectacular and by no means essential listening, it is a delightful reminder of Barlow/Gaffney/Lowenstein's collective sense of humor directly contrasted with serious artful songwriting. The album kicks off w/ the intense melancholy feel of a track like 'Happily Divided' (originally on the Bubble & Scrape LP), a personal favorite of mine. The album showcases the aforementioned contrast throughout, inserting goofy cuts ('MEE-YOW!') and interesting revamps ('Cry-Sis'). Ultimately, its a great snapshot of the band at one of their various high points.

http://www.mediafire.com/?ot0f813ys22ikor

Monday, February 28, 2011

DEAD MEADOW - SHIVERING KING AND OTHERS (Matador, 2003)


The Shivering King And Others is a beautiful, perfect storm of a record. Over the years I've listened to this record so often, so intently, that even the most subtle nuances put a smile on my face. That faint sound of feedback just before the opening track, 'I Love You Too', kicks in with a riff that haunts dreams and nightmares alike? Oh yes. I could go on, but the end result is simply an album that fires on all cylinders.

Upon its release in 2003, the album generated a bit of buzz in certain circles, but was disregarded by many. It was felt that the band's appearance on Matador, a label that (at the time) was largely reconfiguring its own identity, seemed odd at best and a poor move at worst. With the dust now long-settled, we are left with a near flawless snapshot of the band at what I would argue to be its creative apex (which should not be misinterpreted as a slight to their material since this release, which I also enjoy). This album goes far beyond their two previous studio releases, their self-titled debut and their sophomore effort, Howls From The Hills (both on Joe Lally's Tolotta label). While those two releases were good in their own right, The Shivering King And Others showcases stunning execution with proper variation and just a bit of restraint. That variation can be seen in the intense riffage of a track like 'Good Moanin', countered by the much more cerebral and introspective 'Heaven' and the acid-soaked revamp of 'Everything's Going On'.

Shivering King is the documented result of a band acting as a true musical unit. That end result, a near decade later (!!), remains awe-inspiring.

http://www.mediafire.com/?7mv1pgnsu25lrh4

Coming back very soon

Hey everyone - so this thing sorta died from neglect a few months back, but I plan on putting alot more effort to it and will hopefully have some new posts later on this evening. Good things coming up real soon.

Wednesday, June 2, 2010

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.

LISTEN

Wednesday, May 19, 2010

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.

DOWNLOAD

Monday, May 17, 2010

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.

DOWNLOAD

Tuesday, April 20, 2010

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!

LISTEN

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.

LISTEN

Wednesday, February 10, 2010

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.

LISTEN

Tuesday, February 9, 2010

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!

Sunday, January 31, 2010

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/

Wednesday, January 20, 2010

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.

Tuesday, January 19, 2010

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.

Tuesday, January 5, 2010

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.

DOWNLOAD

Friday, January 1, 2010

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

Monday, December 28, 2009

BARSTOW - DISCOGRAPHY [sorta] (self-released, 2001-2005)

Barstow were an indie rock/post-hardcore band from Waterbury Connecticut. During their 5+ year existence at the beginning of the decade that is about to come to a close, Barstow's importance on the local DIY culture of Connecticut was, at best, overlooked. Even more unfortunate, their collected recordings have gone largely forgotten in the brief number of years following their break-up for a variety of reasons, an all-too often consequence of Connecticut's small, intimate, but all too forgetful local punk rock culture.

Barstow consisted of Ryan (guitar), Matt (guitar), Mike (bass) and Dan (drums). While all four members shared vocal duties, Ryan and Matt were the primary vocalists. Their songwriting, in part, showcased the loud-quiet-loud indie sound, with a great deal of dynamism and variety, thanks in part to the collective interests and ability the group overall. Their discography also showcased a great deal of creative growth over the course of a very short period of time. From the more straightforward indie-pop approach of their demo EP, to the 3+minute crescendo that is 'Valley Walls' on their split 7" with A Day's Refrain (Redscroll Records), to the fluidity and intricacy of their final 3-song EP, such development should not go unnoticed or unappreciated. If anything, it only makes one wonder what the group might have issued had they continued on.

Beyond music, Barstow was immensely vital to the continuation of the DIY punk rock scene in central Connecticut during the course of their existence. They helped book dozens of shows at Brass City Records and the nearby Waterbury VFW. Beyond the actual setting up of shows, they lent out their PA on a moment's notice and were simply friendly enough to help bridge the stylistic gaps that are often seen within a young, developing scene. These gaps can keep various parties from ever interacting, and it takes something special, although rarely ever intended, to create that bridge. Barstow provided it, although might never have known it.

As this entry would suggest, my opinion of this band is far from objective. Admitting that, I feel that far too often we are only able to understand and appreciate the actions of others retrospectively. And while many have recently looked at punk rock in a historical sense as something of great significance, I contend that such historical perspective and respect, especially at the local level, is a bit harder to come by (especially recent history). With that in mind, I wanted to make sure this entry was made, if only so people who weren't there can appreciate the contributions of those who were.

The file below includes their aforementioned pair of EPs and the track from their split 7". It also includes 2 unreleased tracks ('Milhouse' and 'How To Be Good At Nothing') as well as a live version of 'I Blame Myself...So Do I' from their final show, which took place at Brass City Records in Waterbury CT. My apologies if anything is missing. If you have recordings of the band not included in this file, please feel free to post them or get in touch. Enjoy.

DOWNLOAD

DOW JONES & THE INDUSTRIALS / GIZMOS - HOOSIER HYSTSERIA split LP (Gulcher, 1980)


In response to Brian's most recent post on self-awareness and cynicism in punk, I thought it would be best to revisit a tasty little gem of a record from a simpler time long-past. As punk, both in its current-day configuration and in a historical sense, seeps deep into the blogosphere, the "gotta listen to 'em all" approach creates a need to continue posting rare and obscure material, often times with the quality of said material waning and waning until the fun and enjoyment is all but gone. While this installment of the Stain is not necessarily the most obscure thing out there, it will hopefully also not contribute to the further dilution of your search for punk that was.

"Hoosier Hysteria" was the end result of a joint effort by Dow Jones & The Industrials and the Gizmos, two bands from Indiana that came to local prominence by the late 1970's. Many have gone on to brand each band with a bevy of various micro-genres. This is not without reason. Post-punk, new wave, power pop, synth pop, even the simple acronym "KBD" all quickly come to mind and are not outlandish in their relevance to either band.

This record would represent the near-end for these bands, as both would soon part ways and leave their discographies for various collector circles and conversations regarding obscure punk gems of the late 70's/early 80's. Now its yours to enjoy!

(For those of you with exceptionally short attention spans, might I recommend the tracks 'Pay' and 'Bible Belt Baby' by the Gizmos and 'Set Yourself On Fire' and 'Hold That Coed' by Dow Jones & The Industrials.)

DOWNLOAD