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Elliott Smith / Pete Krebs: Shytown b/w No Confidence Man (Blue Vinyl)

In 1994, Portland's idiosyncratic punk pop group Hazel and hushed indie band Heatmiser were providing a less aggravated alternative to the big riffs and howling frontmen of their grunge peers in Seattle. Both bands had strong albums that helped highlight the diversity of Northwest's rock scene, and both bands had guitarists that were dabbling in solo material. Heatmiser's Elliott Smith had just released his critically acclaimed album Roman Candle, and Hazel's Pete Krebs was preparing his debut for Cavity Search Records. It's no surprise that the tiny burgeoning indie label Slo-Mo Records pounced on the opportunity to release a split 7" by these developing talents. Smith's "No Confidence Man" is a classic example of his early, stripped-down heartbroken ballads while Krebs' "Shytown" is a gorgeous acoustic number that deftly navigates between somber passages and the buoyant melodies he was known for in his work with Hazel. Long out of print, it's Suicide Squeeze Records' proud honor to repress the 7" as part of their 20-year anniversary celebratory series. "No Confidence Man" b/w "Shytown" is limited to 500 copies on opaque blue vinyl and 500 copies on opaque yellow. Additionally, the 7" features all new artwork by Grammy nominated designer Jesse LeDoux and includes a download coupon.

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2016-07-08
King Tuff: Wild Desire (White Vinyl)

Kyle Thomas's work under the name King Tuff is a far cry from his primary gigs belting out stoner rock wails with Witch and conjuring lilting freak-folk with Feathers. With King Tuff, Thomas delivers no-nonsense, uber-posi, guitar-driven pop. His 2008 album Was Dead was a hit among fans of jubilant, fuzzed out rock n' roll, including the bigwigs at Sub Pop Records, who promptly snatched up King Tuff and Thomas's related project Happy Birthday. While the world waits for King Tuff to whip out another full-length dose of righteous tunes, they can find temporary satiation with the two-song Wild Desire 7" on Suicide Squeeze. Both the title track and B-side "Hole In My Head" revel in the sound of guitar jangle and unmitigated stokedness cranked into the red. As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a limited repress of the Wild Desire 7" on 500 copies of white vinyl with a download coupon.

Minus The Bear: Interpretaciones del Oso (Taos Blue & Gold Swirl Vinyl)

Minus the Bear's sophomore album Menos El Oso was a significant departure from their debut full-length Highly Refined Pirates. The playful guitar-tapping, fluid production, and nostalgia-bating melodies were largely excised for air-tight drums, glitchy guitar samples, and an overall air that was more of a futurist interpretation of sepia-toned noir than their predecessor's contemporary Polaroid romanticism. It was an album that already sounded like a dark, stuttering remix of their previous efforts. But Minus the Bear was still - in both spirit and instrumentation - a rock band, and those staccato riffs and dance beats practically begged to be re-examined from behind the producer's console. So the band enlisted a team of underground remix artists to reinvent each of Menos El Oso's eleven tracks. The resulting Interpretaciones Del Oso is a wild and imaginative ride through a dizzying array of sonic reconstructions. P.O.S. makes "Drilling" a club banger; FOG turns "Memphis & 53rd" into the kind of murky gloom churned out by reclusive black metalhead Xasthur; Dälek producer Oktopus transforms "The Game Needed Me" into a dreamy druggy daze; Battles' Tyondai Braxton deconstructs "Fulfill The Dream" into a send-up of classic Warp Records IDM. As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a limited vinyl repress of Interpretaciones Del Oso on 1000 copies of Taos-colored vinyl with updated artwork, printed inner sleeves, and a download card.

Modest Mouse / 764-Hero: Whenever You See Fit (Half Blue / Half Yellow Vinyl)

The mid-'90s were an interesting time in Seattle. The city had just experienced its brief period in the rock n roll limelight, but it was still a lonely outpost in a largely ignored corner of the United States. Touring bands were reluctant to make the trek up from San Francisco, or across the mountains from Denver, or from across the Great Plains from Minneapolis. There were barely any all-ages venues to play in town. Bands like Modest Mouse and 764-Hero helped fill the rainy void with a relentless schedule of writing and playing out. That creative thirst and no-one's-watching mentality prompted a lot of artistic exploration and experimentation, a phenomenon best captured on the collaborative single "Whenever You See Fit". Marrying Modest Mouse's jagged blowouts with 764-Hero's pensive songwriting, the track slowly came together over the course of a tour together, with the bands taking the stage together nightly and dueling over a few fleshed out chords. The resulting 15-minute marriage of sparse pop and guitar sturm-and-drang perfectly captured the wistful artistry and punk turbulence of Northwest indie rock at the close of the century. As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a vinyl repress of "Whenever You See Fit" with updated artwork by esteemed designer Jesse LeDoux. The 12" single - also featuring remixes by DJ Dynamite D and Scientific American on side B - is limited to 1000 copies on half blue and half yellow wax, includes a download coupon, and will be the first time the record has been available on colored vinyl.

Pedro The Lion: Progress (Pink & Blue Swirl Vinyl)

Pedro the Lion's first full-length It's Hard to Find a Friend and subsequent EP The Only Reason I Feel Secure cultivated a dedicated fanbase for songwriter David Bazan's bittersweet melodies, somnambulist instrumentation, sparse arrangements, and introspective lyrics. When Pedro the Lion issued their second album Winners Never Quit, fans were challenged with a concept record with a heightened pulse, bolder guitars, and a long-form narrative that replaced Bazan's trademark truncated parables. Any concerns that Pedro the Lion were heading into more turbulent waters were quelled by the Progress EP released by Suicide Squeeze Records three months later. "June 18, 1976", a humble minor-key ballad that follows an unwed mother's postpartum tragedy, harkens back to somber simplicity of earlier tracks like "Secret of the Easy Yoke". Companion track "April 6, 2039" is a lush marriage of Pedro the Lion's singer-songwriter predilections with newfound electronic components. The song would later turn up as "Progress" on the Control album. The CD version of the EP contained acoustic renditions of classics "Of Up and Coming Monarchs" and "Letter From a Concerned Follower". As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a limited expanded vinyl repress of Progress containing all four songs from the CD version of the EP. The Progress 7" has also been given brand new gatefold packaging from esteemed designer Jesse LeDoux. The EP is limited to 1000 copies on pink-and-blue swirl vinyl and includes a download card.

These Arms Are Snakes: Tail Swallower & Dove (Renal Failure Color Vinyl)

Seattle's art-core outfit These Arms Are Snakes never really fit in anywhere. Over the course of their 2003 debut EP they vacillated between epileptic fits of '90s DIY post-hardcore, woozy narcotic jam-outs, fortified classic rock riffage, and slow-churning cataclysmic dirges. The band continued on a path made even more confusing but undeniably invigorating by the jarring synth hooks and four-on-the-floor pulse of their first album Oxeneers and the prog-rock forays of their sophomore full-length Easter. When it came time to record their final album Tail Swallower & Dove, the band was less interested in charting out new territories and more focused on turning their myriad of approaches into one cohesive sound. From the chugging thrust and Heldon-esque breakdown of dueling synth and guitars on "Woolen Heirs", to the jagged noise rock of "Red Line Season", to the 8-bit sludge of "Lucifer", to the climactic twang-and-crunch of side closers "Ethric Double" and "Briggs", These Arms Are Snakes managed to retain their broad palette of sound while reigning it all in to a cohesive style that continues to defy categorization. As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a limited vinyl repress of Tail Swallower & Dove on 1000 copies of Renal Failure-colored vinyl with expanded gatefold artwork and a download card.

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2016-06-17
VHS: Gift of Life

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-to-day 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 culture-gorging lament of "Binge Everything" or the panopticon-paranoia of "Public Act." If you've ever worried that punk has gotten too antiseptic, Gift of Life is here to deliver the grime.

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2016-04-15
The Coathangers: Nosebleed Weekend

Nosebleed Weekend kicks off with "Perfume", a song that marries sultry pop vocals with toothy guitar riffs in a manner that would make Ann and Nancy Wilson proud. It's hard to imagine The Coathangers writing a song this accessible in their early years, but in 2016 it fits perfectly into their canon. From there the band launches into "Dumb Baby", which harkens back to the gritty neo-garage rock of Murder City Devils. Longtime fans who still clamor for their brash post-punk angle will be immediately satiated by "Squeeki Tiki". And after hearing the noisy loud-quiet-loud bombast of "Excuse Me?" it's no wonder that Kim Gordon has become an outspoken fan of the band. It's an eclectic album inspired by life on the road, lost loved ones, and Kugel's recent move to Southern California. "We always say that each record is a snapshot of our life at the time," Kugel says. "As far as style... it's just what came out of us at that point." So whether it's the foreboding garage rock of the title track, the post-punk groove of "Burn Me", the stripped-down pop of "I Don't Think So", or the dynamic grunge of "Down Down", The Coathangers command their songs with passion and authority.

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2016-04-01
Audacity: Hyper Vessels

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". It can be tricky to juggle the bubblegum with the piss-and-vinegar, but it's a duality Audacity embraces, "I feel like we get portrayed a lot as a sunshine-y, carefree California band," 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. But then they turn around and bask in the unapologetically gratuitous pop swagger of album closer "Lock On The Door". By the time Hyper Vessels comes to close, you're convinced that Audacity can get away with whatever they damn well please, it's going to have it's adrenaline-fueled charm regardless.

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2016-02-19
Michael Nau: Mowing

The music of Michael Nau sounds effortless. For the past eight years, Nau has written songs with his wife Whitney McGraw under the name Cotton Jones. Along with their rotating cast of auxiliary members, Nau and McGraw kept a busy schedule of releasing records, rehearsing, and touring. Along the way, Nau would track song ideas. There was a stockpile of these recordings - little sonic experiments, layering exercises, the occasional fully-formed song - nestled away in the Cotton Jones compound in the tiny Appalachian city of Cumberland, Maryland, waiting to be pulled from the shelf and ushered into the sunlight. So with the help of a few musician friends, Nau sifted through those recordings. Given the sporadic formation of the songs off of Mowing there is a surprising continuity and timbre in mood. Album opener "While You Stand" kicks things off with little more than a delicate acoustic guitar line and a modestly hummed chorus, the song creates the inviting aura of sunlight coming through the kitchen window on an early Saturday morning. Like so many classics in the Cotton Jones canon, songs like "Your Jewel", "So, So Long", and "Unwound" conjure the sounds that linger on lonely stretches of the radio dial, where Cat Stevens, Harry Chapin, and Randy Vanwarmer crackle on with their infinite humble appeal. Elsewhere on Mowing, you can hear Nau's beguiling experiments - the bossa nova cadence of "Smooth Aisles", the woozy chaise lounge instrumental "Mow", the baroque pop of "Winter Beat."

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2015-10-16
Childbirth: Women's Rights (Yellow Vinyl)

Childbirth is a "supergroup" in the sense its members are all in other hit bands (Julia Shapiro of Chastity Belt, Bree McKenna of Tacocat, Stacy Peck of Pony Time) and also that they do good for the world while in costume.

Childbirth's forthcoming album, Women's Rights, is piss-your-pants funny - subject matter includes a trashy friend bringing coke to a baby shower ("Baby Bump") characteristics that warrant an instant "swipe left" on Tinder ("Siri, Open Tinder") and dating vapid IT douches ("Tech Bro."). Lyrics on Women's Rights are highly quotable - from "Tech Bro": "I'll let you explain feminism to me/If I can use your HD TV."

Like the majority of effective political art, Women's Rights shows rather than telling. The songs describe what is fucked up in the world so evocatively that it needs no commentary, and always with a biting sense of humor.

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2015-05-26
Headphones: Headphones (White Vinyl)

10-year anniversary LP pressing! Headphones is the new band featuring David Bazan (Pedro the Lion), Tim Walsh (Pedro the Lion, TW Walsh), and Frank Lenz. The self-titled album was engineered and mixed by Jared Hankins in Seattle in the early days of 2005. The band's debut is built wholly from synthesizers (no guitars!), live drums, and the familiar warmth of Bazan's syrupy vocal delivery. Headphones kindly tips their hat to modern stalwarts like Depeche Mode, The Flaming Lips, Kraftwerk, and Radiohead who seamlessly integrated electronics into the fabric of rock and pop music. But here, Bazan and company defy easy assumptions about music made electronically avoiding kitsch and cutesiness, delivering deft arrangements with timeless melodies and uncanny lyrical depth.

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2015-05-26
Headphones: Headphones (Bundle)

+ Pre-order will ship on May 22, 2015
+ Limited edition pressing of 1k copies on white vinyl
+ Double sided insert w/ lyrics
+ Download card includes “Five Chord” as a bonus track
+ 3-color 18” x 24" silkscreened poster was designed by Jesse LeDoux
+ Poster bundle is limited to 200 copies


10-year anniversary LP pressing! Headphones is the new band featuring David Bazan (Pedro the Lion), Tim Walsh (Pedro the Lion, TW Walsh), and Frank Lenz. The self-titled album was engineered and mixed by Jared Hankins in Seattle in the early days of 2005. The band's debut is built wholly from synthesizers (no guitars!), live drums, and the familiar warmth of Bazan's syrupy vocal delivery. Headphones kindly tips their hat to modern stalwarts like Depeche Mode, The Flaming Lips, Kraftwerk, and Radiohead who seamlessly integrated electronics into the fabric of rock and pop music. But here, Bazan and company defy easy assumptions about music made electronically avoiding kitsch and cutesiness, delivering deft arrangements with timeless melodies and uncanny lyrical depth.

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2015-05-12
Guantanamo Baywatch: Darling... It's Too Late

With Darling… 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 Darling… 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.

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2014-10-14
Dasher: Soviet

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.

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2014-09-16
This Will Destroy You: Another Language

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.

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2014-03-18
The Coathangers: Suck My Shirt

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."

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2013-12-03
Eating Out: Burn

Eating Out is the crunchy, distorted, pop-oriented project of Nü Sensae drummer Daniel Pitout. The big distorted guitar riffs and heartfelt melodies of Pitout’s brainchild are a notable departure from Nü 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 Nü 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.

Natural Child / Guantanamo Baywatch: Surf 'N' Turf

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.

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2013-10-29
Audacity: Butter Knife

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.

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2013-10-29
YAMANTAKA // SONIC TITAN: UZU

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.

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2013-10-15
The Coathangers / Audacity: Adderall b/w Earthbot

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.

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2013-10-01
Minus The Bear: Acoustics 2 (TRANS GOLD vinyl)

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.

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2013-09-03
Meat Market: Too Tired

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.