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Elliott Smith

Division Day

    Elliott Smith's "Division Day" is not only one of the late artist's most beloved fan favorite songs, it's also one of Smith's first departures away from the soft-spoken melancholy of his first two albums and into the more sophisticated pop that led to his breakout success. B-side "No Name #6" is a classic in its own right, encapsulating the humble brilliance of one of our generation's greatest singer-songwriters. "Division Day" b/w "No Name #6" is now back in print on tri-color vinyl. Limited to 1000 copies, this 7" single is a crucial document of Elliott Smith's musical evolution, and a vital piece of Suicide Squeeze history

    Hinds / Los Nastys


      Punk rock exploded on the international scene just as Spain was awakening from the end of Franco’s 35-year regime. And while new freedoms for an old country meant a blossoming of art and culture, the combination of geographical obstacles, a struggling economy and prejudices towards the countries of the Iberian Peninsula meant that the Spanish underground music scene operated with added urgency, it also operated in relative isolation. However, as anyone who’s dug into Spanish punk could tell you, the scene has an unparalleled vibrancy.

      Suicide Squeeze Records are proud to spread the word on this exciting community by way of a split 7” by two of Madrid’s most ecstatic contemporary garage rock bands - the fiery quartet Hinds and the psych-tinged scorchers Los Nastys. In a nod to Madrid’s close-knit underground circuit, the longstanding musical tradition of covers and the band’s mutual admiration, the split 7” features the two bands tackling each other’s songs. Side A finds Hinds covering Los Nastys’ pop gem ‘Holograma’ while the flipside finds Los Nastys’ doing a rave-up of Hinds’ ‘Castigadas En El Granero’.

      The record is both an unabashed party and an exciting document of an oft-overlooked scene. The 7” is pressed on translucent blood red vinyl and includes a digital download card.

      Although L.A. Witch hail from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the analogue sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can’t afford Phil Spector’s wall of sound but the instruments’ simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash’s first person morality tales than the vacuous empty gestures of pre-fab pop bands. This isn’t music for the masses; it’s music for miscreants, burnouts, down-and-out dreamers and obsessive historians.

      Album opener ‘Kill My Baby Tonight’ is the perfect introduction to the band’s marriage of 60s girls-in-the-garage charm and David Lynch’s surreal exposés of Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow burn build of drummer Ellie English and Sanchez’s desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator’s crimes.

      ‘Brian’ follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like ‘You Love Nothing’, through the motorik beat and fuzzed-out licks of ‘Drive Your Car’, to the grittier permutation of Mazzy Star’s sleepy beauty on ‘Baby In Blue Jeans’.


      Darryl says: Hailing from the streets of Los Angeles this is the magical self-titled debut from L.A. Witch. ‘L.A. Witch’ is a reverb drenched blast of super cool druggy psych-pop complete with a sultry vox and a seedy burnt-out dreamers vibe that smacks somewhere between the Black Angels and a hazy but grittier Mazzy Star.

      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.

      This Will Destroy You

      The Puritan

        Continuing her journey into uncharted waters, Julianna Barwick’s remix of This Will Destroy You’s serene composition ‘The Puritan’ is an exercise in both refinement and intensification.

        Taken from This Will Destroy You’s viscerally cinematic full length studio album ‘Another Language’, the Brooklyn-based songstress elicits an invisible structure from the track’s warbling textures and oceanic vastness, distilling and reconstituting the band’s reflective soundscape into a rarefied elemental form. The resulting single is pristine and subtle; a fully immersive pairing of melodic piano with layers of decaying tape textures, anchored and paradoxically tethered to submersed bassline programming and distant, hyperborean 4/4 kick drum.

        By once again shifting shapes and adding emphasis with the beats she does and doesn’t drop, Barwick is able to forge a totally new path for both herself and instrumental-stalwarts This Will Destroy You. Barwick’s work, ‘The Puritan’ remix sounds as if it is both sinking and floating.

        7” pressed on brown and black splatter coloured vinyl with download card.


        Ltd 7" includes MP3 Download Code.

        Ty Segall

        Sentimental Goblin EP

          It’s tough to keep up with garage rock’s wunderkind Ty Segall. Between his steady release schedule of LPs, raucous side projects like Fuzz and GØGGS, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it’s as if a season can’t pass without Segall dropping a new record. And that’s not even taking his cassettes, splits, and EPs into consideration. Fortunately, Segall’s bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty’s impressive canon with the Sentimental Goblin 7”. Side A features “Pan”, a fuzz-soaked proto-metal jam that links Beatles’ pioneering guitar dirge “I Want You (She’s So Heavy)” to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on side B and conjures the erudite pop appeal of T. Rex and Bowie with the lush glam rocker “Black Magick”. Suicide Squeeze Records is proud to release Sentimental Goblin to the world on March 17, 2017. 


          Ltd 7" Info: The initial pressing consists of 1000 copies on half blue / half yellow vinyl and includes a download card. Only got a handful of these and once they're gone, they're gone!

          On their sixth album, ‘Voids’, Minus The Bear started with a blank slate and inadvertently found themselves applying the same starting-from-scratch strategies that fuelled their initial creative process.

          Album opener ‘Last Kiss’ immediately establishes the band’s renewed fervour. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus.

          From there the album flows into ‘Give & Take’, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like ‘Fine + 2 Pts’, while exploring new textures and timbres.

          ‘Invisible’ is arguably the catchiest song of the band’s career, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks.

          ‘What About The Boat?’ reminds us of the math rock tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat.

          ‘Erase’ recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs but demonstrates The Bear’s ongoing melodic sophistication and tonal exploration.

          By the time the band reach album closer ‘Lighthouse’ they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo, driven at its peak by Cory Murchy’s thunderous bass. Not since ‘Planet Of Ice’s ‘Lotus’ have The Bear achieved such an epic finale.

          All in all it’s an album that reminds us of everything that made us fall in love with Minus The Bear in the first place and a big part of that appeal is the sense that the band is heading into uncharted territories.

          First studio album since ‘Infinity Overhead’ (2012).

          Produced by Sam Bell (The Cribs, Weezer, Snow Patrol, Bloc Party) and mastered by Greg Calbi at Sterling Sound.

          ‘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’.


          Coloured LP Info: Available to independent retailers as an exclusive clear vinyl LP edition.

          Coloured LP includes MP3 Download Code.

          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’.


          LP Info: LP comes with digital download coupon and printed
          inner sleeves.

          LP includes MP3 Download Code.

          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.”


            Counting The Days

            If you’ve lived anywhere near Fullerton, California over the last decade, or if you’ve paid any attention to the recent flux of sun-baked, surfsoaked power pop proliferating along the Western coastline of the US in recent years, chances are you’ve taken notice of Orange County’s rambunctious guitar pop mavens Audacity.

            While last year’s ‘Butter Knife’ album came pretty damn close to capturing Audacity in all their wild and ecstatic splendour, they’ve finally captured the triumphant bedlam of their live show with their latest 7” ‘Counting The Days’ / ‘Mind Your Own Business’.

            The A side is Audacity in all their ragged glory - righteous guitar leads, buoyant choruses and unhinged energy.

            For the flipside, the OC boys pay tribute to British post-punkers Delta 5 with an explosive cover of their debut single from 1979.

            ‘Counting The Days’ / ‘Mind Your Own Business’ is available vinyl courtesy of Suicide Squeeze Records.

            7” vinyl with a download coupon.


            Ltd 7" includes MP3 Download Code.

            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.

            Charmingly lo-fi pop, full of vivid imagery and gorgeous vocal harmonies. The band’s most accessible album yet. It marks an exciting new chapter in the band’s young career. While previous record "Paranoid Cocoon" found the band lending itself to the occasional lengthy jam, "Tall Hours In The Glowstream" finds Cotton Jones reigning in the songs for a more succinct pop feel.

            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.

            Latest Pre-Sales

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            Ahead of stocktaking next week, we've had a tidy up. Loads of one off warehouse finds here: Don't snooze!
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