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SUICIDE

The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single "Suicide Commando" and their world changes forever. Well, not only their world – THE world. What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrained in the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right.

Now the year is 2021. Four decades have passed and NO MORE’s Suicide Commando is back once again - well… the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format. Remastered and re-released with the original tracklisting and paying homage to the original artwork. Available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental.

Initial pressing will be limited to 400 copies.

TRACK LISTING

A1. Suicide Commando
B1. In A White Room

The Coathangers / L.A. Witch

One Way Or The Highway

    Suicide Squeeze Records is proud to offer up One Way or the Highway, their latest installment in an ongoing series of split 7” singles, this time featuring Atlanta’s The Coathangers and Southern California’s L.A. Witch. For their contributions, both bands opted to reinterpret beloved songs by classic punk pioneers of their respective coasts. The Coathangers do their spin on Blondie’s “One Way Or Another,” employing their trademark sweet-and-salty combination of scrappy punk and twee pop to highlight the song’s spikey riffage and gritty soul while retaining its beguiling hooks. L.A. Witch take on The Gun Club’s smoky punk blues with an exhilarating rendition of “Ghost on the Highway.” The trio harness all of the original’s propulsive energy and rockabilly swagger while adding a seductive element to the song’s tales of ominous temptations, draping it all in an extra coating of dusty tolex reverb to bolster its vintage ­avor.

    TRACK LISTING

    1. The Coathangers “One Way Or Another"
    2. L.A. Witch “Ghost On The Highway"

    Minus The Bear

    Farewell

      Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and ­nding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience.

      TRACK LISTING

      1. Drilling - Live
      2. Last Kiss - Live
      3. Lemurs, Man, Lemurs - Live
      4. Absinthe Party At The Fly Honey Warehouse - Live
      5. Thanks For The Killer Game Of Crisco Twister - Live
      6. Diamond Lightning - Live
      7. My Time - Live
      8. Summer Angel - Live
      9. Cold Company - Live
      10. Fair Enough - Live
      11. The Fix - Live
      12. Fine + 2 Its - Live
      13. I’m Totally Not Down With Rob’s Alien - Live
      14. This Ain’t A Sur­n’ Movie - Live
      15. The Game Needed Me - Live
      16. Invisible - Live
      17. Monkey!!! Knife!!! Fight!!! - Live
      18. White Mystery - Live
      19. Spritz!!! Spritz!!! - Live
      20. Knights - Live
      21. Let’s Play Guitar In A Five Guitar Band - Live
      22. Hey, Wanna Throw Up? - Live
      23. Get Me Naked 2: Electric Boogaloo - Live
      24. Into The Mirror - Live
      25. Throwin’ Shapes - Live
      26. Pachuca Sunrise - Live

      Julia Shapiro

      Zorked

        Zorked (adj.) - what happens when you end up thunderbaked, as in extremely stoned or in any situation where you feel not sober. You can feel so tired you’re zorked. In fact, any state, so long as you’re a little out of it, quali­fies. And Julia Shapiro, of Chastity Belt, Childbirth, and Who Is She? much like everyone on this earth with a pulse was zorked on more than one occasion in 2020. In March, she packed up her things and traded Seattle’s late-winter gloom for the perennial sunshine and seemingly endless opportunity of Los Angeles only to be forced into near-total isolation. With nowhere to go and nothing to do, she began working on her second solo album, Zorked. On the resulting batch of songs, we’re given Julia’s vision of Los Angeles: a wasteland melting in slow-motion, a place to commune with ghosts and warped legacies.

        Living within earshot of a man who spent his entire 2020 singing karaoke for over 10 hours a day, Julia could write, record, and play an album’s worth of instruments without fear of noise complaints. Her roommate Melina Duterte (Jay Som) transformed their house into a viable home studio, making it easy to fully realize the sound in her head, even at the height of a global lockdown. Taking things a step further, Melina agreed to co-produce the record, pushing Julia to make these new songs sound less like Perfect Version, her ­rst solo album, or like the songs she performs in Chastity Belt. At the peak of her uncertainty and discomfort, she jumped into the deep end in search of something new and found power in heavy sounds.

        This is evident in the fi­rst few seconds of album opener “Death (XIII).” Taking newfound inspiration from the namesake Tarot card, drone metal, and shoegaze, Julia layers walls of guitars, bass chords, and programmed drums. “Come With Me,” the album’s lead single, takes inspiration from a mushroom trip gone bad. “Take me to awful places now,” she sings, envisioning heat death as her own eyes stare directly into the sun. On “Wrong Time,” shimmering guitars smolder and levitate, yet she fi­nds herself “stuck inside this hole I’ve dug.” That said, these songs aren’t unbearably sad, nor has Julia become any less of a merciless observer of human behavior. By album closer “Hall of Mirrors,” she’s come full circle. Over ­fingerpicked guitar, the sense of lost identity becomes all-encompassing.

        It’s the sound of a life lived in servitude to digital screens and the psychic damage invisibly done along the way.

        Though Julia Shapiro found herself in a near hermit-like existence, writing and recording almost all of the album’s instruments herself and struggling to navigate her place in a city and world rendered nearly comatose, she maintains a sense of humor about all of it. At the very least, “It’s funny to force people to have to say Zorked out loud. Any other title sounded pretentious.”

        TRACK LISTING

        1. Death (XIII)
        2. Come With Me
        3. Wrong Time
        4. Someone
        5. Reptile! Reptile!
        6. Pure Bliss
        7. Hellscape
        8. Do Nothing About It
        9. Zorked
        10. Hall Of Mirrors

        Death Valley Girls

        Glow In The Dark - Reissue

          Death Valley Girls’ sophomore album Glow in the Dark (2016) is a white-hot distillation of their sound and spirit a jittery and jubilant joyride of barnburner guitar riffage, goosebump-inducing choral hooks, pounding rhythms provided by drummer Laura “The Kid” Kelsey and bassist Alana Amram, and an overarching aura of some secret and subversive power. The band wastes no time detailing their strategies as they crash out of the gate with the title track. Bloomgarden and auxiliary vocalist Jessie Jones issue the song’s call to arms “unite, multiply, and conquer” as a rallying cry to likeminded souls.

          “Once you realize that money, government, and this whole system is a shitty construct that doesn’t work and stands in the way of our true magical in­nite potential, we start to glow,” says Bloomgarden about Glow in the Dark. “And we can see everyone that believes ‘cause they glow too!” It’s hard to not feel that magical tingle during the riotous stomp of “Disco,” the old school rattle-and-raze of “Death Valley Boogie,” or the -re-and-brimstone proselytizing of “Seis Seis Seis.”

          While the initial line-up of Death Valley Girls featuring the core duo of Bloom-eld and Schemel with bassist Rachel Orosco and drummer Patty Schemel ruminated on the hellish realities of the modern world on their debut album Street Venom, the Glow in the Dark-era Death Valley Girls reveled in the secret bond between the mis-ts and outcasts who refused to bow to crushing weight of “capitalism, classism, and elitism.” Up until now, Glow in the Dark has been as elusive and mysterious as the forces behind its title, with physical manifestations of the album being out of print since 2016.

          TRACK LISTING

          1. Glow In The Dark
          2. Disco
          3. Death Valley Boogie
          4. Seis Seis Seis
          5. Pink Radiation
          6. I’m A Man Too
          7. Love Spell
          8. Horror Movie
          9. Summertime
          10. Wait For You

          Death Valley Girls

          Street Venom (Deluxe Edition)

            With a name like Death Valley, one would assume early cartographers were actively deterring people from its boundaries. It’s now recognized as an ecosystem with its own unique beauty and wonder, though it’s not without its element of danger. That landscape is a fitting reference for LA’s blazing rock troupe Death Valley Girls, whose particular blend of garage punk, proto-metal, and communal music drapes an air of occult mystery and white-hot energy over an underlying celebration of life and vitality. Their 2020 album Under the Spell of Joy was the clearest distillation of the band’s ongoing mission—creating a sound that was both riotous and transcendental, brimming with positivity even as it navigated dark melodies and rowdy riffs. That said, Death Valley Girls felt fully realized the moment they appeared on the scene and never lost track of their initial daredevil energy. Their debut album, 2014’s Street Venom, was given only a modest roll-out consisting of a small run of cassettes, but the songs were so infectious that they continue to be staples in the band’s live set.

            For the fi­rst time, Street Venom is receiving its proper due with a Deluxe Edition courtesy of Suicide Squeeze Records. Death Valley Girls began when vocalist/guitarist/organist Bonnie Bloomgarden moved to Los Angeles to get clean from drugs. Figuring that playing music would be a positive distraction, she put her feelers out for potential bandmates and was eventually introduced to Hole drummer Patty Schemel and her guitarist brother Larry. Bassist Rachel Orosco was brought into the fold soon after. “We spent a year messing around and jamming ‘cause we all needed to play and have something safe to do that wasn’t AA,” Bloomgarden says of the band’s infancy stage. Not wanting to land shows only off the merits of their drummer’s credentials, Death Valley Girls opted to make a record before playing out live. They spent two days at Station House Studios in Echo Park with producer Mark Rains and cranked out the nine-track album Street Venom.

            The deliciously scuzzy guitars and righteous chorus of album opener “No Reason” immediately set the tone for the album. There’s an undeniable swagger to tracks like “Arrow” and “Shadow,” a sultry allure to songs like “Get Home” and “Paradise Blues,” and a life-af­rming electric spirit to “Girlfriend” that sound more like the output of a seasoned, road-tested band than the debut offering of a bunch of mis­ts. Combined with the follow-up long-out-of-print seven inch single “Electric High” b/w “Gettin’ Hard,” this Deluxe Edition of Street Venom captures the ­ery beginnings of one of LA’s most exciting and inspirational underground rock bands while bolstering the sound with a new mix and a remaster.

            TRACK LISTING

            1. No Reason
            2. Sanitarium Blues
            3. Arrow
            4. Get Home
            5. Shadow
            6. Gettin’ Hard
            7. Paradise Blues
            8. Run Run Rocky
            9. Red Glare
            10. Girlfriend
            11. Electric High

            Suicide

            Cheree (RSD21 EDITION)

              THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

              IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).


              A 10" 4 Track EP on Transparent vinyl, featuring 'Cheree', 'I Remember', 'Cheree (Remix)' and 'Keep Your Dreams' (an early version of 'Dream Baby Dream'). Release also includes brand new reimagined artwork from Philip Marshall

              The Coathangers

              The Devil You Know

                In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with The Devil You Know, it feels like we’re hearing the first Coathangers record written as a true unit.

                TRACK LISTING

                1. Bimbo
                2. 5 Farms
                3. Crimson Telephone
                4. Hey Buddy
                5. Step Back
                6. Stranger Danger
                7. F The NRA
                8. Memories
                9. Last Call
                10. Stasher
                11. Lithium

                The Paranoyds

                Pet Cemetery

                  As the world continues to literally burn, The Paranoyds return with a much-needed dose of musical levity. It's been nearly a year since the Los Angeles-based outfit released Carnage Bargain, their debut full-length, and this new release, a two-song seven-inch, is a total embodiment of their every influence. Their identity - a band fueled by campy horror movies and garage rock - is more evident than ever on this seven-inch, beginning with the organ-fueled opening of A-side "Pet Cemetery." Featuring the sounds of off-kilter keys alongside a chugging guitar line, and expansive experiments, "Pet Cemetery" has become a staple of the band's live performances, resulting in a sea of zombie-fied headbang every time it's played. Despite the obvious heaviness that surrounds a track entirely centered on undead lovers partaking in PDA, there's an undeniable undercurrent of fun. Previously recorded during sessions for the band's full length-debut, this unofficial anthem for underworld romance was being saved for a special moment. On the record's B-side, is "Hotel Celebrity," a single that's darkness isn't quite so overt. An examination of aging, and the fruitless celebrity pursuit of superficial perfection, The Paranoyds share in a not so sincere toast to Hollywood. The single was among the last sessions at the famed Tiny Telephone, a San Francisco-based recording studio. The track is a sneak peek at the future, if there is a future beyond all this shit, of what musical direction The Paranoyds might be headed in next. 

                  Death Valley Girls

                  Under The Spell Of Joy

                    The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark.

                    The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

                    Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

                    “Death Valley Girls are a gift to the world.” Iggy Pop.

                    “If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.

                    “A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.


                    STAFF COMMENTS

                    Barry says: A ruthless, but melodic jaunt through snarling punk riffs, snapping percussion and fists-in-the-air groove from Death Valley Girls here. Expertly toeing the line between distorted drive and more thoughtful, slow numbers. Utterly essential, and a superb early morning blast.

                    TRACK LISTING

                    1. Hypnagogia
                    2. Hold My Hand
                    3. Under The Spell Of Joy
                    4. Bliss Out
                    5. Hey Dena
                    6. The Universe
                    7. It All Washes Away
                    8. Little Things
                    9. 10 Day Miracle Challenge
                    10. I’d Rather Be Dreaming
                    11. Dream Cleaver

                    L.A. Witch

                    Play With Fire

                      Where L.A. Witch's self-titled album oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across some unknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker “Fire Starter.” The authoritative opener is a deliberate mission statement.

                      “Play With Fire is a suggestion to make things happen,” says Sanchez. “Don’t fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.” And by that line of reasoning, “Fire Starter” becomes a call to action, an anthem against apathy. From there, the album segues into the similarly bodacious rocker “Motorcycle Boy” a feisty love song inspired by classic cinema outlaws like Mickey Rourke, Marlon Brando, and Steve McQueen. At track three, we hear L.A. Witch expand into new territories as “Dark Horse” unfurls a mixture of dustbowl folk, psychedelic breakdowns, and fire-and-brimstone organ lines. And from there, the band only gets more adventurous.

                      Play With Fire is a bold new journey that retains L.A. Witch’s siren-song mystique, nostalgic spirit, and contemporary cool. Despite the stylistic breadth of the record, there is a unifying timbre across the album’s nine tracks, as if the trio of young musicians is bound together as a collective of old souls tapping into the sounds of their previous youth.

                      TRACK LISTING

                      1. Fire Starter
                      2. Motorcycle Boy
                      3. Dark Horse
                      4. I Wanna Lose
                      5. Gen-Z
                      6. Sexorexia
                      7. Maybe The Weather
                      8. True Believers
                      9. Starred

                      Death Valley Girls

                      Breakthrough

                        One-Time Pressing Limited To 750 Copies. Half Purple & Half Black Color Vinyl. Includes Download Coupon. A-Side Cover Of “Breakthrough” By Atomic Rooster. B-Side Cover Of “Rock ’N’ Roll / Ega” By Daniel Johnston. LA's Death Valley Girls have made a name for themselves by churning out a desert-blasted blend of rowdy proto-punk and primitive heavy metal steeped in cosmic idealism and third-eye consciousness.

                        Their first new offering since tearing a hole in the sky with their 2018 album Darkness Rains comes in the form of a two-song seven-inch, "Breakthrough." The title track is a cover by Atomic Rooster, though the band discovered the track through a rendition by Nigerian outfit The Funkees. With its grimy guitar riffs, fire-and-brimstone organ, and combative chorus, it's as if the song was originally written with Death Valley Girls' brand of stark transcendental rock in mind. But it wasn't just the pulse and melody that drew the band to the song.

                        "It spoke to me because of the lyrics about breaking free from an invisible prison... we all have invisible or visible prisons we are trapped in," says vocalist and multi-instrumentalist Bonnie Bloomgarden. The song discovery coincided with the band's interest in Damien Echols of West Memphis 3 and his ability to endure his imprisonment by learning to astral project through meditation. The b-side is another cover - a ramped up version Daniel Johnston's loud-quiet-loud anthem "Rock 'N' Roll / EGA." It's a total rager, but it's also a bittersweet song for Death Valley Girls as they had the rare privilege to briefly serve as Johnston's backing band. Ultimately, the two songs have a deep and profound connection to Death Valley Girls, both in their spirit and in their aural alignment.

                        Suicide

                        Suicide - Art Of The Album Edition

                          By the Summer of 1969 the US hippie dream lay in tatters but the cultural influence exerted by New York City would echo loudly through the decades that followed and no louder than it did with the incendiary electronic NYC duo, Suicide, who came to notoriety nearly a decade later. If dismissive at first, the music press have gone through something of a dramatic U-turn in more recent years with many mainstream publications now regarding Suicide’s 1977 debut as a stone cold classic.

                          It sits at #39 in Pitchfork’s Top 100 Albums Of The 1970s; it placed at #441 in Rolling Stone’s 500 Greatest Albums Of All Time; and reached #236 in NME’s The 500 Greatest Albums Of All Time.

                          Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. However, a sense of their vital impact can be discerned from the number of cover versions of Suicide tracks there are delivered by the likes of Pearl Jam, Bruce Springsteen, Peaches and R.E.M. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3/ Spiritualized), Lydia Lunch, Nik Void of Factory Floor and Savages as fans. This Art Of The Album edition of Suicide sees the record remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.

                          STAFF COMMENTS

                          Darryl says: Still sounding as fresh as the day it was released back in 1977, this New York proto punk / industrial / avant-noise album finally gets the reissue it really deserves. “Remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.”

                          SadGirl

                          Water

                            With their new album Water, Los Angeles trio SadGirl taps into the romantic and nostalgic spirit of their native city while exuding a time-tested authenticity suggesting they’ve had a peek behind the curtain of the glitzy boulevards and relentless sunshine. It’s a collection of breezy pop songs captured with the timbre of old-time recording techniques. Songs like “Little Queenie” touch upon the yesteryear reverberations and longing of a Ken Boothe ballad. Similarly, a tormented love song like “Miss Me” transports the listener back to slow dances at a previous generation’s sock hop, only to be subverted by a chorus of “miss me with that bullshit.”

                            It’s as if guitarist/vocalist Misha Lindes, drummer David Ruiz, and bassist Dakota Peterson want to conjure an idealized past only to remind us of innocence lost. “If you want to learn about water, go to the desert.” It’s a piece of wisdom that made an impact on Lindes. “Here we are in Los Angeles, a desert, ping-ponging between drought and El Niño. This record is an attempt to share a small portion of my experience growing up and living here,” said Lindes. “It’s basically about the fluidity of water and its power and importance.” “L.A.’s SadGirl make slow and hazy pop perfect for your summer soundtrack” 

                            TRACK LISTING

                            1. The Ocean
                            2. Chlorine
                            3. Hazelnut Coffee
                            4. Miss Me
                            5. Breakfast For 2
                            6. Little Queenie
                            7. Mulholland
                            8. Strange Love
                            9. Avalon
                            10. Water

                            Suicide

                            Dream Baby Dream (RSD19 EDITION)

                              THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                              “THE BAND THAT WILL ALWAYS SOUND LIKE THE FUTURE” - Dangerous Minds. The classic Suicide ‘Dream Baby Dream’ single (originally released 1979) is re-issued exclusively for Record Store Day 2019. Released on 12”

                              Death Valley Girls

                              Darkness Rains

                                At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Funhouse’s sonic exorcisms, ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy. Album opener “More Dead” is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden’s proclamation that you’re “more dead than alive.”

                                The pace builds with “(One Less Thing) Before I Die”, a distillate of Detroit’s proto-punk sound. At track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars.” “Death Valley Girls are a gift to the world

                                TRACK LISTING

                                1. More Dead
                                2. (One Less Thing) Before I Die
                                3. Disaster (Is What We’re After)
                                4. Unzip Your Forehead
                                5. Wear Black
                                6. Abre Camino
                                7. Born Again And Again
                                8. Street Justice
                                9. Occupation: Ghost Writer
                                10. TV In Jail On Mars

                                Hot Snakes

                                Suicide Invoice

                                  Suicide Invoice is Hot Snakes' second album, and was originally released in 2002. It was recorded at San Diego’s Drag Racist Studios in 2002 with engineer Ben Moore. The album exhibits Hot Snakes’ slightly larger palate in mood and dissonance. People enjoyed the shows and listening to the recorded music. But, strain from controversy and fame would reveal cracks in the seemingly impenetrable hide of Hot Snakes. A year after the album’s release, drummer Jason Kourkounis left to focus on other music.





                                  TRACK LISTING

                                  1. I Hate The Kids
                                  2. Gar Forgets His Insulin
                                  3. XOX
                                  4. Who Died
                                  5. Suicide Invoice
                                  6. Paid In Cigarettes
                                  7. LAX
                                  8. Bye Nancy Boy
                                  9. Paperwork
                                  10. Why Does It Hurt
                                  11. Unlisted
                                  12. Ben Gurion

                                  Guantanamo Baywatch

                                  Desert Center

                                  Guantanamo Baywatch’s new album ‘Desert Center’ opens with ‘Conquistador’, an instrumental track displaying enough fretboard savvy and fiery twang to make The Challengers proud. However, any notion that Guantanamo Baywatch are strictly adhering to one facet of rock ‘n’ roll’s classic era is dispelled by the soulful swagger and unabashed pop of ‘Neglect’.

                                  It’s an inadvertent juxtaposition maintained through the entirety of ‘Desert Center’, with blazing instrumental nuggets like ‘The Scavenger’ alternating with the proto-grunge and golden oldies mash-up of a track like ‘Blame Myself’.

                                  Like their 2015 album ‘Darling… It’s Too Late’, ‘Desert Center’ was primarily tracked in Atlanta at Living Room Recording with Justin McNeight and Ed Rawls, with Jason Powell doing the bulk of the guitar tracks on his own at Jungle Muscle Studios.

                                  While Guantanamo Baywatch initially made a name for themselves with their early blown-out recordings, ‘Desert Center’ retains the raw aesthetics of a Hasil Adkins single but has the added heft and thump afforded by a modern studio. This balance is perhaps best captured on ‘Video’, where bassist Chevelle Wiseman drives the tune with a thick, throbbing riff while drummer Chris Scott ruthlessly pounds his kit with a crashing clarity guaranteed to please even the most snobby analogue audiophile.

                                  TRACK LISTING

                                  Conquistador
                                  Neglect
                                  The Scavenger
                                  Mesa, AZ
                                  Interlude #1
                                  Witch Stomp
                                  Blame Myself
                                  Area 69
                                  Video
                                  Interlude #2
                                  The Australian

                                  ‘Gift Of Life’, the first proper full length by VHS, follows in the footsteps of their previous EPs, with the band self-recording their amalgam of Lost Sounds’ trashy discontent, early Big Black’s trebly guitar stabs and ‘Only Theatre Of Pain’-era Christian Death’s black reverberations. These are brash and bitter territories to occupy but the band sees no other choice for their musical direction, citing the daily grind as the impetus behind their music.

                                  The harsh reality of frontman Josh Hageman’s day-today existence working on the periphery of the medical field played a direct role in the overall theme of the album. Those fatalistic views and medical themes are on full display on ‘Wheelchair’, where a punk pulse underscores Hageman’s harrowing description of a life lived in chronic pain with drugs serving as the only escape.

                                  The album continues on to ‘Hospital Room’, where wiry guitar leads and ominous chords provide the soundtrack to a scene of misery and tragedy within the sanitized walls of Western medicine.

                                  Elsewhere, the themes of addiction and exposure take on more universal themes, such as on the culturegorging lament of ‘Binge Everything’ or the panopticon-paranoia of ‘Public Act’.

                                  TRACK LISTING

                                  Fully Realized
                                  Wheelchair
                                  Hospital Room
                                  Public Act
                                  Crooked Echo
                                  Binge Everything
                                  Art Decay
                                  Constant Hiss

                                  From the opening bedlam of barnburner ‘Counting The Days’, Audacity demonstrate that while their songwriting has become more nuanced, their delivery has gotten more savagely precise.

                                  With recording duties handled by longtime friend and tourmate Ty Segall, Audacity sound like they’ve finally found someone who can capture the frenetic drive of a song like ‘Hypo’, the off-kilter hook of ‘Riot Train’, the undeniable melodic appeal of ‘Fire’ and the cowpunk influence of ‘Previous Cast’.

                                  “I feel like we get portrayed a lot as a sunshine-y, carefree California band,” guitarist / vocalist Kyle Gibson says “But lots of our songs deal with melodramatic subject matter. The fact we’ve all lived in Fullerton pretty much the whole time we’ve been in the band has some effect on the music. Driving around town, there’s a memory or a ghost on every street. People die or move away or get in trouble, or groups of friends drift apart and start hating each other and get in fights. It’s not demoralizing; it’s a part of life, but of course it affects the music.”

                                  That frustration manifests itself on songs like ‘Overrated’, where you can almost hear the spit and sweat hitting the microphone, before the band turn around to bask in the unapologetically gratuitous pop swagger of album closer ‘Lock On The Door’.

                                  TRACK LISTING

                                  Counting The Days
                                  Not Like You
                                  Riot Train
                                  Umbrellas
                                  Baseball
                                  Dirty Boy
                                  Hypo
                                  Fire
                                  Previous Cast
                                  Overrated
                                  Awake
                                  Lock On The Door

                                  In 2013 MONEY released their debut album ‘The Shadow Of Heaven’, following a handful of concerts that felt more like communions in out-of-the-way venues, advertised by word-of-mouth only.

                                  Two years on, the new MONEY album, ‘Suicide Songs’, takes you deeper into their sound and vision. It feels more advanced and yet simpler, more perfected and yet more open. It is, by turns, a tender, barren, cavernous, smouldering, despairing and inspirational piece of work.

                                  Out of a renewed, richer palate of sound, a sense of greater self-belief has emerged. However, as its title suggests, ‘Suicide Songs’ doesn’t shirk from the emotional truths that birthed it. “I wanted the album to sound like it was ‘coming from death’ which is where these songs emerged,” Jamie explains. “Above all else, I’m just trying to project and portray a poetic truth. Suicide is about anonymity, to the point where you don’t exist, which I definitely feel in my songwriting and as a person. But rather than writing myself out of anonymity, I want to remain there, in this record at least.”

                                  TRACK LISTING

                                  I Am The Lord
                                  I’m Not Here
                                  You Look Like A Sad Painting On Both Sides Of The Sky
                                  Night Came
                                  Suicide Song
                                  Hopeless World
                                  I’ll Be The Night
                                  All My Life
                                  A Cocaine Christmas And An Alcoholic’s New Year

                                  Shana Cleveland & The Sandcastles

                                  Oh Man, Cover The Ground

                                    ‘Oh Man, Cover The Ground’’s softly-stated melodies and breezy air operates on its own sense of time. Though the songs still settle comfortably into threeminute parcels, their gestation bucked at the convention of pop music’s stringent time format.

                                    “I’m really into meandering, fingerpicked open-tuned acoustic guitar, like John Fahey and Robbie Basho,” says Shana Cleveland. “I started playing guitar in that style during a year right before I moved to Seattle when I was lonely and bummed out in the San Fernando Valley and found solace in spending long afternoons fingerpicking slow moving improvisations.”

                                    This casualness is evident in the music - you can hear it in the airy ambience of album opener ‘Butter & Eggs’, the gentle piano and strings accompaniment on the title track, the particularly Fahey-esque explorations of ‘Itching Around’ and ‘SPATM’. Even the timeline of the album’s development seems to defy the ephemeral haste that permeates so much contemporary music.

                                    The bulk of ‘Oh Man, Cover The Ground’ was recorded in Shana’s basement. “I wanted it to sound casual and kind of loose like my favorite folk albums, so we didn’t practice much before recording and a few of the musicians were playing the songs for the first time.”

                                    TRACK LISTING

                                    Butter & Eggs
                                    Holy Rollers
                                    Oh Man, Cover The Ground
                                    Itching Around
                                    Potato Chips
                                    Golden Days
                                    (death Riff)
                                    SPATM
                                    Rounding The Block
                                    City To City
                                    Sucking Stones
                                    Quiet As Skin
                                    Change In The Ocean

                                    On ‘Visits’, Tammar pulls off a pretty incredible trick with each and every one of its post-punk anthems. They mine the classic sounds of paranoia, malaise and misanthropy (Joy Division, The Velvet Underground, The Fall and early 90s alt-rock) and fill it all with so much exuberance and joy of playing that each song becomes a triumph over anxiety and ennui.

                                    TRACK LISTING

                                    1. Heavy Tonight
                                    2. Summer Fun
                                    3. The Last Line
                                    4. Deep Witness
                                    5. Arrows Underwater
                                    6. Yung Jun
                                    7. Frost Meter

                                    The Suicide Machines

                                    A Match And Some Gasoline

                                      Another radical set of ska-core punk missiles from The Suicide Machines, back with their fifth album "A Match and Some Gasoline". It matches the intensity and creativity of their early work allied to a new confidence that takes the intensity a step further. It encompasses a bunch of new styles - hardcore, harder edged thrash, punk, reggae, ska all put into a blender.

                                      The Magic Musicians

                                      The Magic Musicians

                                        This Seattle band features John Atkins (764-Hero) and Joe Plummer (Black Heart Procession) and are recommended if you like Quasi, the Replacements, 764-Hero and the Blues Explosion. They reach to stretch the elastic of modern indie-pop music while adding an appreciative nod to the SST-era of punk rock when Husker Du and the Minutemen were kings. Aggressive where it needs to be, loose when it should be, the Magicians second self-titled album matures and furthers what was started on 2001's "Girls" and shows that the band's got plenty more to offer.

                                        The Suicide File

                                        Twilight

                                          The long anticipated full length release from this Boston hardcore band. A great mix of old school and new school with intelligent lyrics. This is a band with purpose. Features ex-members of Death By Stereo, The Hope Conspiracy, No Reply, and Adamantium.

                                          Suicide Machine

                                          Steal This Record

                                            More than any other Suicide Machine album before it, there's plenty of nose-thumbing old-school punk such as "The Killing Blow", "Scars" and "Honor Among Thieves". From Detroit they have an energized, highly intense sound. One track to look out for is their bonkers version of REM's hit "It's The End Of The World As We Know It".

                                            Vinny Peculiar

                                            Suicide Dad

                                              Fantastic acoustic and lyrical single on Manchester's very own Uglyman records, think of I Am Kloot as possible reference point.


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