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

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.

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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.)

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PANZRAM - DEMO (Human Crush, 2009)

It can get frustrating living in the decade of hardcore's extreme self-awareness. The canon is so thoroughly-established that any band can plant its roots in its chosen barren land and, with a slight bit of competence and the right friends, yield the fruits of subgenre notoriety and eBaiting. Many of the newest bands take a cynical, even ironic approach to the medium. That's what makes this demo such a breath of fresh air.

Quietly self-released by the band (comprised of two MERKIT members), the thing reeks of earnestness and an emphasis on communication. It's a pleasant refreshment to see a band that draws from the wells of BORN AGAINST and LEFT FOR DEAD but puts their own spin on it. Most of the songs include explanations, but the dirgey, untitled track ferreted away on the b-side speaks for itself - I couldn't have been six years old/The first time the cops were called/Shouldn't have had to lie to them/But I did it anyway, the distorted yowls cascade over the unique drumbeat before the tune culminates into noisy catharsis.

This exciting demo sets the stage for a 10" on IFB next year. As with everything John and Joe do, the packaging is exemplary, so I'd recommend tracking down a copy while they last (the HUMAN CRUSH blog purports that a scant 25 copies remain). Easily my favorite band named after a serial killer. Listen to it!

MEN'S RECOVERY PROJECT "BOLIDES OVER BASRA" LP (Load Records, 2000)

You people seem to keep subscribing to and downloading music from this blog, in spite of my efforts to thwart our status as musical taste-makers. I can only muster excitement over something so often, but you keep demanding that I not only enjoy more things but tell you why you should enjoy them. Or, if you're the drummer from Bent Outta Shape, you tell me to take your band's stuff down. Hopefully this post will be the nail in the coffin. Or else get me an e-mail from Sam McPheeters.

This is the second full length from quintessential post-punk weirdos Men's Recovery Project, and their last if you don't count the aborted (or maybe just unreleased) "Night Pirate". Here is a link.

SWANS - BODY TO BODY, JOB TO JOB (YOUNG GOD, 1991)

It's no secret that updates have slowed dramatically since school began, myself and Mr. Daltrey finding ourselves re-inundated with assorted obligations. More and more of you have not refrained from downloading the past posts in spite of a lack of updates. I will do my damndest to rectify this situation in the future, and by way of an apology offer you this extremely high-quality rip of the seminal SWANS' definitive early minor work, "BODY TO BODY, JOB TO JOB." Recorded between 82 and 85, I think this is a good entry point to early SWANS precisely because it eliminates much of the driving, crushing sameness exhibited on "FILTH" or "COP". Their brutalitarian sonic nihilism is expanded ever so slightly by the fact that this LP was culled from studio recordings, tape loops, and multiple live sets. Heedlessly unsettling, philosophical without pretention, completely necessary.
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