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. But as anyone that’s dug into Spanish punk could tell you, the scene has an unparalleled vibrancy. Suicide Squeeze Records is 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 others' 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 split 7" will be available via Suicide Squeeze on 1000 copies of translucent blood red vinyl. Comes with a download coupon.
Though ...and the Family Telephone is the product of many hands, it's still the work of just one heart. Just as he's been doing for three years, Michael Nau put his heart into the new record. Nau's lyrics call to mind Dylan or Nilsson ghostwriting for Margo Guryan, all well accompanied by a range of upbeat instrumentation. Trumpets blare overtop jangly acoustic guitar, then both are laid out as a perfect blanket for Nau's vocals.
Limited to 750 hand numbered copies! Atlanta's ladies hand two of their beloved tracks (143 and Arthritis Sux from their Suicide Squeeze debut, "Scramble") to Dan Deacon and Judi Chicago for the specialist treatment... What emerges is pure, ringing joy; from JC's bounce-down dub to the pulsing 'closing-credits' anthem Deacon somehow Frankenstein's from the band's original tracks. Includes a coupon for a free digital download of the single in MP3 format.
"â€¦mix of riot-grrrl vitriol and eyelash-batting charm- the aural equivalent of getting mugged by a Girl Scout" - Nylon
In Winter 2008/2009, Minus the Bear released an EP called Acoustics featuring newly recorded acoustic versions of fan favorites from the quintet's prolific career along with one new track. Limited to 5000 copies of vinyl, Acoustics is now out of print. Acoustics 2, the second volume in the acoustic series, is a full LP containing eight newly recorded and reinterpreted standout tracks in addition to two brand new songs: "The Storm" and "Riddles." Acoustics 2 is sure to please longtime fans and welcome new fans to this critically acclaimed rock band.
The Coathangers are a relentless force. Not content to rest on their laurels with 2011’s sweaty summer classic Larceny & Old Lace, Atlanta’s roadwarrior daughters delivered a new split 7” every six months courtesy of Suicide Squeeze Records. Previous installments have paired their no-fucks-given badassery with Puerto Rican partiers Davila 666, Canadian bass-riff maestros Nu Sensae, and Nashville vintage-rockers Heavy Cream. The Coathangers’ final chapter in the series has them sharing a slab of vinyl with recent Suicide Squeeze signees Audacity. Hailing from Orange County, Audacity perfectly embody Southern California’s polarizing elements of sunshine and urban density. While not exactly “Good Vibrations” or “Welcome To The Jungle”, Audacity’s split-exclusive “Earthbot” shows both undeniable pop savvy and savage fretboard awareness. For their side, The Coathangers pay homage to driver’s-little-helper with “Adderall”. Showcasing the grittier side of their sound while still maintaining all of their token swagger, “Adderall” is a fitting cap on the split 7” series that carried through two years of relentless touring across North America and Europe. The Coathangers/Audacity split 7” is limited to 750 copies and is also available digitally worldwide on October 15, 2013.
"John and I were both in-between projects and decided to get together in the studio to blow off some steam and have some fun playing music," van Leuven says of Sun Breaks' beginnings. On John Atkins and James van Leuven's debut full-length All on Camera, Sun Breaks fuse live instrumentation and electronic manipulations with dubby outboard treatments and pensive melodies of Northwest indie rock. The title track demonstrates this fusion, with Atkin's vocals and van Leuven's cyclical drum patterns, banks of synths, and psychotropic production techniques. Every song becomes a new template and new battle plan. The tactics might yield the string pad hooks and dreamy vocals of "A Common Wave" or the big drum sounds and psychedelic instrumentation of "Moments". Restless angst isn't entirely absent from Sun Breaks' vision, but has been replaced by the search for light in the dark. "One of the constraints I've tried to work within lyrically is to not be too negative," Atkins explains. "A lot of it is derived from the first vocal takes and deals with digital angst, psychedelic surveillance and childhood memories." The result is lysergic, with both positive and negative energy swirling in a cosmic tapestry of sound.
Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.
Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited second pressing of 1,000 copies on 180g black vinyl and includes a download card for MP3s.
White Woods is the alias for Julia Kugel, better known for her work as the guitarist and vocalist for Atlanta’s riotous garage rockers The Coathangers. Under her solo moniker, Kugel delivered a heartfelt blend of golden-oldies and subdued Americana with her debut single on Suicide Squeeze last year. Now Kugel is back with another two-song White Woods offering, exploring the same kind of sultry vintage sounds that made her first 7” so special. The A-side, “Big Talking”, takes The Coathangers’ attitude, unplugs it from the amps, and delivers its admonishment with a graceful AM radio vibe. On theflipside, “Corner Town” conjures the sex and strut of David Lynch’s pop-culture nods to ‘50s. The newest White Woods songs are available digitally worldwide or on a 7” limited to 500 copies (100 glow in the dark, 400 black) with an accompanying download code.
Sacramento’s noise rock heroes Hella follow in a long tradition (from Captain Beefheart to Don Caballero to Trans Am to Lightning Bolt) of music-making madness with their experimental blister rock. Abstract, chaotic, undeniably originalâ€¦but make not mistake: Hella are fully in control. They know where they’re going, and they want to take you with them.
In any relationship, what's not said often lingers: the relative silence of atoms and electrons bonding, or the long distance stare of the lonely. Texan four-piece, This Will Destroy You, understands what lasts, binding their sound to distant starlight as it slips thru the night sky. "Black Dunes" is the second single chosen from the band's stellar album, Tunnel Blanket. Two versions of the song appear here for the first time. One edited by the band themselves, and the other a b-side remix by Holy Other that, like the best of his work, blurs the sourced sound, creating a new language from the previous original. It's an offering - limited to an edition of 500, on Suicide Squeeze Records - and an attempt, the kind that only the best of us make, to communicate with the universe. Comes with a download coupon.
The debut full length "Blocked Numbers" introduces Seattle's Crystal Skulls. The album takes a snapshot of a band less than one year in the making, a preserved document of smart and stylish indie-pop music. Built on the strikingly mature singing and songwriting of frontman Christian Wargo, the group's sound is made whole by the dead-on instincts of his bandmates (Yuuki Matthews on bass guitar, Ryan Phillips on guitar and keyboard, Casey Foubert on drums). Recorded and produced at home by the Skulls, "Blocked Numbers" presents a wholly satisfying batch of songs undeniably refreshing yet immediately familiar.
On their new 7" for Suicide Squeeze Records, SadGirl not only harnesses a golden oldies sound with "Breakfast for 2", they touch upon its traditions as well. "It's a follow up to one of the first tracks I wrote for the project, 'Breakfast Is Over'. It's meant to be a sequel in line with rock n' roll and oldies tunes like 'It's My Party' and 'Judy's Turn To Cry', or 'Johnny B. Goode' and 'Bye Bye Johnny'," says guitarist/vocalist Misha Lindes. The flipside features a cover of the surf classic "Jack the Ripper" by Link Wray. "I’m a big fan," says Lindes, "but I’m also a huge fan of the late Israeli neo-rockabilly / surf guitarist Charlie Megira, who passed away in November 2016, and Charlie has an amazing version of 'Jack the Ripper'," says Lindes. "So our version is really an homage to Charlie as much as it is to Link Wray."
Eating Out is the crunchy, distorted, pop-oriented project of NÃ¼ Sensae drummer Daniel Pitout. The big distorted guitar riffs and heartfelt melodies of Pitout’s brainchild are a notable departure from NÃ¼ Sensae’s roaring assault. But Eating Out also has the proud distinction of being a Vancouver supergroup of sorts. While Pitout assumes the songwriting duties and the accompanying positions of guitarist and vocalist, fellow Sensae Brody McKnight rounds out the guitar department, White Lung vocalist Mish Way lends her bass skills, and Peace’s Geoff Dembicki fills in on drums. While vestiges of NÃ¼ Sensae’s brash tonalities, White Lung’s melodic treatment of hardcore, and Peace’s bold anglophile pop can all be heard in Eating Out, Pitout’s songs owe more to girl-grunge groups of the early nineties than to any of his co-conspirators’ primary projects.
Audacity’s latest full-length Butter Knife is still, at its core, a garage rock record. The economic instrumentation, grit-tinged guitar jangle, pogo-prompting tempos, and sing-along choruses can all be traced back to the seminal Nuggets collections. But ultimately, Butter Knife doesn’t sound so much like an homage to The Sonics as it sounds like a young band striving to make the most ebullient and jubilant noise possible. Album opener “Couldn’t Hold A Candle” is a perfect introduction to Audacity’s battle plan—a balanced blend of pop sensibility and ribald power. “Hole In The Sky” showcases the band’s gift for the on-the-dime changes, sophisticated melodies, and clever instrumental interplay. “Red Wine” demonstrates a Robert Pollard-like knack for turning an unexpected chord combination into a remarkably punchy chorus. And album closer “Autumn” harkens back to the balladry of power pop kings Big Star. All of which is to say, Audacity are tighter and more clever than your average suburban band, and consequently they’re one of the strongest acts in the Southern Californian garage rock scene.
Abeele and Nouvion recorded “Caregiver,” their debut single for Suicide Squeeze, in a church in rural Ontario. And it showcases a confident leap forward for Memoryhouse. Gone are the icy synths that washed across the duo’s earlier songs. Oh yes, you will still find familiarity in Nouvion’s voice, blanketed by that lush, ethereal reverb, and, in Abeele’s arrangements, which remain subtle and moving as anything they’ve previous released. Yet, "Caregiver" underscores a more dynamic and ambitious sound palette for the band, placing an emphasis on organic instrumentation â€“ upright piano, a string quartet, and natural drums â€“ to augment their traditionally guitar and keyboard driven songs.
The magic of Hella grows more mystifying and thrilling on this split personality offering. Zach Hill’s “Church Gone Wild” delivers a dark and menacing onslaught of aggression and guts (and vocals!), while Spencer Seim’s “Chirpin Hard” brings out a lighthearted but wholly technical and equally impressive spattering of pop and punk melded in the hotpot of the computer and video game age.
"There is something that is underrepresented in Christmas music, and that's just how uncomfortable the holidays can be for a lot of folks," David Bazan says about his collection of holiday songs Dark Sacred Night. Back in 2002, David Dickenson of Suicide Squeeze Records approached Bazan and asked if he would be interested in doing a 7" of Christmas carols. The result was the "I Heard The Bells On Christmas Day" b/w "Oh Come, Oh Come Emmanuel" single released under Bazan's Pedro the Lion moniker. He followed it up with "The First Noel" 7" in 2003 and "God Rest Ye Merry Gentlemen" in 2005. Even after retiring the Pedro the Lion project, Bazan continued his run of Yuletide singles for Suicide Squeeze under his own name. These limited edition 7"s are all long out of print, but David Bazan and Suicide Squeeze have chosen ten of the fourteen tracks, remixed and remastered the material, and collected them on Dark Sacred Night.
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."
With Darlingâ€¦ It’s Too Late, Guantanamo Baywatch sought to harness and manipulate the sparkling sounds from yesteryear, all while staying true to the tape hiss and rough takes of analog recording. “We really wanted a mixtape compilation sound to the record,” says Powell, and that approach can be heard in both the songwriting and the production. According to Powell, each individual song was approached with all the amps and the EQs on the recording console zeroed out. That meant that every song was recorded with a new template. The title track and lead single, “Too Late”, perfectly captures this new aesthetic. With Burger Records soul singer Curtis Harding contributing backing vocals and rounding out the classic Motown ballad vibe of the track, “Too Late” is an enormous departure from the trashy Mummies-esque ruckus of their earlier recordings. Of course, the band hasn’t completely abandoned the rowdy surf rock of their previous releases—Powell put the finishing touches on the album back at his Jungle Muscles Studio in Portland to keep that rough-hewn feel intact. But even when he and his bandmates Chevelle Wiseman (bass) and Chris Scott (drums) tread on their familiar territory with songs like “Raunch Stomp” or their cover of Eddie & The Showmen’s “Mr. Rebel”, there’s a newfound clarity, punch, and swagger to their sound. Throughout the course of Darlingâ€¦ It’s Too Late the trio continues to fuck with various subgenres, from the dusty Western twang of “Corey Baum’s Theme” to the straight-outta-Sun Studios rocker “Do What You Want.”
The LP is available in a limited pressing of 1,000 copies on Peaches-and-Cream color vinyl. A digital download card for MP3 is included.
George W. Bush. Cormac McCarthy novels. Chainsaw massacres. Texas has a reputation for being a grim place. Sure, there’s the rock n’ roll haven of Austin, the metropolitan hubs of Dallas and Houston, and the weird art commune of Marfa. But by and large, it’s a land of dry counties and conservatism. Which makes the demented psych garage of Lubbock’s the Numerators all the more compelling. Northeastern Texas is perhaps the most inhospitable region of the state for a young band of misfits to combine a love of David Lynch’s twisted take on the ‘50s with a requisite dash of Lone Star homage to 13th Floor Elevators, yet somehow the Numerators have managed to thrive under such stark conditions. Now based in Brooklyn, the trio continues to belt out their hallucinatory brand of reverb-drenched garage rock on their latest single for Suicide Squeeze. The “Dead” b/w “Finally Sees” 7” is limited to 500 copies (100 clear, 400 on black) with a free download code and is also available digitally worldwide.
Atlanta’s reigning garage rock daughters The Coathangers return with the third installment in their series of split 7”s on Suicide Squeeze. This time they’ve teamed up with labelmates NÃ¼ Sensae. Both new listeners and longtime fans of The Coathangers will be whipped into a frenzy with “Derek’s Song”, a party-banger perfectly encapsulating the quartet’s capacity for sharp hooks and jagged instrumentation. NÃ¼ Sensae contributes “Throw” to their side of the split. Rounding out their sound with the recent addition of guitarist Brody McKnight, NÃ¼ Sensae’s newest song is a ferocious and harrowing leap forward. Brody unleashes foreboding guitar squalls while bassist/vocalist Andrea Lukic rages like Kim Gordon at her most incendiary moments and Daniel Pitout beats his drums to a bloody pulp. The Coathangers’ side will make you wanna get off your ass and dance while the NÃ¼ Sensae side will make you wanna go torch a car. The split 7” is limited to 750 copies (250 on white vinyl, 500 on black) with a free download code and is also available digitally worldwide.
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. But any notion that Guantanamo Baywatch is 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 Darlingâ€¦ 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 their lead single "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 analog audiophile.
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 with its first pressing on colored vinyl. Limited to 1000 copies on clear vinyl, this 7" single is a crucial document of Elliott Smith's musical evolution, and a vital piece of Suicide Squeeze history.
Antwon’s latest EP comes courtesy of indie stalwart Suicide Squeeze. Mixed by Lars Stalfors, producer and engineer behind multiple Mars Volta and Omar Rodriguez-Lopez albums, “Dying in the Pussy” marries an MC’s traditional sexual bravado with a signature style of smoked-out fatalism over ominous interweaving synth lines. In contrast to the A-side’s sinister swagger, “Life Is What You Make It” is Antwon’s summer jam. A stylistic continuation of last year’s collaboration with Pictureplane, this b-side gem is a perfect blend of chilled-out West Coast hip-hop set against the backdrop of glitchy, warbling electropop. Th.e two-song EP is available worldwide both digitally and as a limited edition 7” (250 copies on white w/ black marble, 500 on black) with a download coupon.