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.
Atlanta trio Dasher's origins and mission statement are relatively simple - Kylee Kimbrough wrote a handful of songs on bass, switched over to drums and vocals, enlisted friends Ian Deaton and Jon Allinson to round out the lineup, and documented the humble beginnings with a debut cassette, Yeah I Know. While that premise is simple enough, describing Dasher's sound is a more complicated affair. Kimbrough cites Patti Smith as a major inspiration. Spin Magazine heard elements of Killing Joke and Wire. Band interviews mention the importance of local hardcore bands Manic and Ralph. Somehow all of these reference points work, yet none of them quite do the band justice. Granted, Kimbrough's commanding vocal delivery would make Patti proud. The primitive urgency of punk pioneers certainly pulses throughout Dasher's catalog. And the deliberate squall of basement hardcore permeates throughout their latest offering, a two-song 7" courtesy of Suicide Squeeze Records. Recorded by Jason Kingsland, "Soviet" b/w "Teeth" captures the no-frills energy of Atlanta's most propulsive post-punk band without tagging on any of the unnecessary conceptual or historical talking points lazy music writers rely on.
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.
Suck My Shirt is the fourth full-length for The Coathangers. "It's a balance between overthinking and just going for it," guitarist Crook Kid (Julia Kugel) says of their songwriting strategy. It's a duality immediately apparent with the album opener "Follow Me." It’s a classic Coathangers tune with Stephanie Luke's raspy vocals belted out over their signature ragged garage-rock. But the chorus opens into one of the most accessible hooks in the band's canon, just before segueing into the next verse with a squall of violent dissonant guitar. From there the band launches into "Shut Up," a title that harkens back to the brash sass of their first record. The song still has its spikey guitar riffs and shouted chorus, but here The Coathangers sound less like a jubilant version of Huggy Bear and more like the art-pop of late-era Minutemen. Dedicated Coathangers fans will recognize the re-worked versions of "Merry Go Round," "Smother," "Adderall," and "Derek's Song" from their run of limited edition split 7"s, and hearing them in the context of the album shows that these tracks weren't merely isolated examples of the band's more sophisticated side, but were actually demonstrative of the group's increasing capacity for nestling solid melodic hooks and rock heft into their repertoire. By the time the band wraps up the album with the humble pop perfection of "Drive," it's hard to believe this was the band that garnered their reputation off of raucous bombasts like "Don't Touch My Shit."
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.
There couldn’t be a better title than Surf N Turf for a split 7” between Portland, Oregon’s Guantanamo Baywatch and Nashville, Tennessee’s Natural Child. While Guantanamo Baywatch bask in the coastal traditions of surf rock, Natural Child deliver the backwoods boogie of the landlocked Southern interior. To be fair, there’s much more to GB than vibrato-soaked Mosrite guitars. The recent Suicide Squeeze signees offset their Dick Dale-styled twang with the trashy hybrid of garage punk and surf rock spewed out by The Mummies. Sure, “Raunch Stomp” is in step with the Ventures’ tremolo-picking tradition, but a song like “Love This Time” explains why the band spent time on the boisterous Dirtnap Records roster. Neither is Natural Child to be mistaken for mere good ol’ boy sons of Skynyrd. Though they’ve certainly got a knack for a country-fried ballad (as evidenced on “Don’t Wake The Baby”) or a sweetly stoned fuzzed-out lead on guitar, the trio are better suited for sharing a beer-soaked bar stage with fellow Nashevillians JEFF the Brotherhood and Heavy Cream than headlining the mainstage at the state fair.
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.
It is safe to say there is no other band like YAMANTAKA // SONIC TITAN on the planet. In a world that is increasingly homogenized, a record like UZU is all the more important for demonstrating how disparate cultural perspectives can merge into something entirely new while retaining their individual sovereign character. This meeting of East and West is perhaps most visible in UZU’s lead single “One”. As the first YAMANTAKA // SONIC TITAN song to extend the songwriting credits beyond the core duo, “One” incorporates the indigenous upbringings of the extended group by leading off with a traditional Iroquois song. The introductory chant is a social song calling all people together, and is performed by people of the Mohawk tribe. From there, the band kicks into a driving guitar line and a vocal hook as sweet as any J-pop hit. Metal riffing, free-jazz cacophony, and meditative Eastern percussion patterns accentuate the song. The hybridization is evident throughout UZU--you can hear it in the operatic piano-and-vocal opener “Atalanta” segueing into the dynamic prog of “Whalesong”, the Eastern melodies seamlessly melding into the synth arpeggio and guitar dirge of “Windflower”, the musical storytelling tradition of “Seasickness Pt. 1” juxtaposing with the Heart-like classic rock gallop of “Seasickness Pt. 2”, and the closing choir passage of “Saturn’s Return” descending into Merzbow-esque white noise.
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.
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.
Meat Market offers up two new songs via Suicide Squeeze. “Too Tired” perfectly encapsulates their sound: a marriage of propulsive Stratocaster riffs with a big catchy chorus. B-side “The Return of Prince Donathunn” is an even stronger nod to the wave-riding instrumental groups of the ‘60s, with the steady 4/4 beat and dueling guitar leads belying the bands outspoken apathy towards surfing.
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.
YAMANTAKA // SONIC TITAN was founded in late 2007 by performance artists alaska B and Ruby Kato Attwood, born from the ashes of the late Lesbian Fight Club. Armed with mixed-race identities, mad illustration skills and a whole pile of home-brew junk electronics, alaska and Ruby wrote and performed the first mini ‘Noh-Wave’ Opera, ‘YAMANTAKA // SONIC TITAN I’ in April 2008. Aesthetically, they blend the poorly appropriated styles of Noh, Chinese Opera, Chinese, Japanese and First Nations Mythology, Black & White Television, Psychedelia & Rock Operatics into a sensory feast of nigh-monochromatic costuming, unique hand-built musical instruments and their own mangaesque cardboard ‘NEVERFLAT’ style of 2.5D set design.
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.
There’s a common-held notion that great rock music only comes out of big cities, as if the grime and struggle of life in urban spaces is the essential fuel for truly passionate rock n roll. But this was a belief when cities were emptying out and the suburbs were growing. Now we’re witnessing the repopulation of major metropolitan areas. Suburbs are becoming the new wasteland. Perhaps that’s the reason why the Orange County suburb of Fullerton was finally able to birth a band like Audacity. Nurtured by local garage rock havens like record store/label Burger Records, the young brash power pop of Audacity kick out jams that are both aptly sunny and gritty—a perfect blend of SoCal’s good weather and endless concrete. With two LPs under the young four-piece’s belt, they’ve set aside two songs for a 7” on Suicide Squeeze before they unleash another full-length later this year. For the uninitiated, “Finders Keepers” b/w “Onomatopoeia” is the perfect introduction to Audacity’s potent combination of pop melodies and roughly hewn energy. The first pressing of this 7” is limited to 500 copies on translucent green vinyl with a free download code as well as being available digitally worldwide.
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.
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.
7" single released on Suicide Squeeze in 2013 - neither side is available on Julianna's albums. "Pacing" features Barwick's voice and ethereal harmonies, "but it's a bit of a diversion from the vocal loop-based songs I tend to make" says Julianna. The B-side, "Call," is a frail and passionate solo piano piece.
Peace recorded its sophomore LP in Pamela Anderson's hometown, a fogged-in hamlet named Ladysmith on the east coast of Vancouver Island. The World is Too Much With Us builds on the depth and drama latent in Peace's sound. Connor's bass-lines menace and hypnotize. Mike's guitar solos explode suddenly in wah-pedal freak-outs. Geoff's tom-toms thud with a tribal intensity. And Dan’s lyrics, for which he's been referred to as Vancouver's "post-punk poet laureate", alternate between images of defiant despair and love-sick yearning.
Somewhere in pre-dawn Cleveland, Gabe Fulvimar hunkers down in his bedroom with his laptop, a guitar, a drum machine, and a Fender Rhodes and records songs under the name Gap Dream. Before you groan over another “bedroom pop” artist, spend two seconds absorbing Fulvimar’s mystical, stoned-to-the-bone one-man garage rock. If Lou Reed and Jason Pierce had MacBooks back when they were starting out, it wouldn’t be hard to imagine them kicking out a jam like “A Little Past Midnight”. It’s almost tempting to claim Gap Dream’s ability to make such warm, wacked out, psychedelic grooves in such technologically-cold hermit-like conditions as Fulvimar’s crowning achievement. But the process behind the music doesn’t mean shit when you hear Fulvimar’s smooth harmonies, warbling tremolo guitar, and reverberating haze sewn together into a tune as beguiling as “Generator”.
Fans of The Coathangers are already accustomed to the beer-soaked, dance-inducing jams whipped up by bassist Meredith, guitarist Julia, keyboardist Candice, and drummer Steph, but on “Merry Go Round” the quartet swap instruments and knock out their most solid and catchy number to date. With The Coathangers raising the bar with their newest song, Infinity Cat Recordings artists Heavy Cream countered by contributing “Toasted” to their side of the split. With it’s big and bold drumbeat, driving guitar chords, sing-along chorus, and blown out production, “Toasted” not only sounds like a fitting addition to JEFF the Brotherhood’s record label, it sounds like the long lost rock n’ roll gem that first incited Joan Jett and Johnny Ramone to pick up guitars back in the ‘70s.