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Sense Yourself - 2024 Segall Mix

    Upchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here.

    After working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury.

    In Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set.

    The band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room.

    When Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”


    1. Upchuck
    2. Sense Yourself
    3. Wage For War
    4. Facecard
    5. Boss Up
    6. Perdido
    7. In The Wire
    8. In Your Mind
    9. Leech
    10. Our Skin


    Bite The Hand That Feeds

      RIYL: Amyl & the Sniffers, Black Flag, Thee Oh Sees, Bad Brains, MC5

      Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free­dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too.

      Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos.

      All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub­humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them.

      In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.


      1. Freaky
      2. Hush Toy
      3. Shaken
      4. Reaper
      5. Crashing
      6. Freedoom
      7. Toothless
      8. Hierba Mala
      9. NYAG
      10. Scrugg
      11. Long Gone
      12. Crossfire
      13. It Comes


      Those Who No

        Shortly after their debut, Melbourne's CIVIC return with their sophomore EP “THOSE WHO NO’ - a fatalistic slab of power pop for the modern set. Recorded on a stint in Geelong, with Billy Gardner (living eyes / ausmuteants / Anti Fade) once again at the helm, ‘THOSE WHO NO’ acts as a counter point to the gutter rock classicism and urban decay romantics of ‘NEW VIETNAM’, and shifts it’s focus towards genre experimentation, bleaker insular realities and modern personal warfare.

        Over four tracks Jim McCullough, Lewis Hodgson, Darcy Grigg, Roland Hlavka and David Forcier dance on the knife’s edge of mythology versus the mundane - an against all odds desperation that flirts with the anthemic yet only stokes the flames. Mid 70s glam and rock n roll tropes are pummelled beyond recognition referencing the past but predominantly pointing to the future. There are forces at work here and CIVIC aren’t a band merely content to play to their strengths - they are a true sum of their parts who get their kicks testing their limitations. (Ben Hepworth).


        A1 - Flick The Station
        A2 - Pleasure
        B1 - Heat
        B2 - Needle In The Camel's Eye

        Liars / Tropical FXXX Storm

        LAMC 18

          The eighteenth edition in Famous Class’ LAMC split series featuring an unreleased A-side track from one of the label’s favorite band’s, backed with a B-side track from a lesser-known artist handpicked by the A-side group. The series gets its name from the epic Less Artists More Condos concerts that the late ARIEL PANERO threw in New York, showcasing amazing bands in some strange and unique venues. Ariel’s driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea. Features LIARS "Total 3 Part Saga" backed with TROPICAL FUCK STORM’S "The Happiest Guy Around."


          Anxious Trend / In Glass

            The unrelenting Age of Anxiety that surrounds us all on both a personal and political level influenced the newest Nots 7” “Anxious Trend / In Glass”. It’s a rhythmic mess punctuated by lyrics dealing with turmoil and shock as the new normal. Both songs were recorded with Andrew Mccalla straight to tape in a top secret Memphis haunt late July 2017.

            TRACK LISTING

            1. Anxious Trend 02:52
            2. In Glass 03:09

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