Here's a rip of the Ausmuteants / Lumpy & The Dumpers split flexi that comes with the first ish of No Friends 'zine out of Chicago. The Lumpy tracks are on Bandcamp, but I don't think I've seen either of the Ausmuteants tracks anywhere, so as a public service I figured I'd post 'em here. I'm not gonna bother to review the zine because I'm sure they don't need me telling people that their zine looks nice but is kind of shitty. If you don't have the eight or ten bucks that it takes to pony up for a copy of the zine, the interviews are avail. for download at nofriendszine.com.
A couple of Estrogen Highs tapes came out recently, "Unfortunate Chronology vols. 1 and 2", which include a bunch of live tracks, outtakes, demos, and assorted eroded matter from the last few years of the band's existence (Estrogen Highs is no more, apparently). I bought these along with Stefan's new solo tape, and while I've only had time to listen to "vol. 1" and the first side of the solo tape so far, I can say that everything I've heard so far is amazing and excellent... you can pretty much shelve the first two or three E.Highs LPs and listen to these tapes exclusively, and still be doing alright. (I won't, but you could.) Covers of Ego Summit and Marshall Tucker Band, too. I've posted a poor-quality tape rip of one of the Stefan tracks on my Tumblr, over here. Also, nobody really asked me for them, but here are scans of the ten-page Estrogen Highs interview from the first issue of Incremental Decrepitude, back in 2010. Clicking on them will help you read them, which isn't to say that's not a ridiculous idea.
One of the first indie records I ever bought was the Lyres "On Fyre" -- I heard "I Want To Help You Ann" somewhere, and the riff was so great that I went out and tracked the album down, although they'd shortened the name to just "Help You Ann" on the LP; something to do with the label thinking it was more accessible that way or something. Anyway, it turned out that the two tracks that I liked best on "On Fyre" ("Don't Give It Up Now" and "Help You Ann") both skipped on the crummy bought-from-Two-Guys record player that I had at the time (ca. '84), which sorta sunk the whole record for me because those were about the only tracks on the album that I really liked, the Pete Best and (two) Kinks covers notwithstanding.
This single, which I bought afterwards, carries a much better slugging percentage though -- "Someone Who'll Treat You Right Now" and "She Pays The Rent" are two genuine rock 'n roll hits ("She Pays The Rent" is an extra track here, and isn't on the 7" version), which definitely puts the Lyres on the 'plus' side of Bands That Use Keyboards As a Lead Instrument (positive: ? and The Mysterians, Suicide, Vanilla Fudge; negative: Emerson Lake and Palmer, Matt & Kim, The Doors).
I can't say too much about Beat Happening, since this is the only record I own by them (what, am I missing something?), although I did just buy the Spit-Take/Sweet Talk split tape which has two Beat Happening covers on it, plus I did read that asshole's book, Our Band Could Be What-The-Fuck-Ever. I didn't lose the sleeve to this single, by the way, it didn't come with one (oh, noes!). Yeah, Sub Pop was a shitty label like that, you can tell why they never went anywhere. I kinda like this song a lot, it reminds me of Panther Burns.
Figured I'd take a second to throw some people in the direction of this compilation, since '90s punk singles were a small part of what I used to do around here, so I'm guessing that a few of you who read this blog might be interested in this swank little LP for your hi-fi sets. Not that I'm claiming that my blog has anything more than a circumstantial connection to any of the bands that are "Destroy All Art"; I maybe own records from two of the bands that are on here, at most, so this comp digs way underneath what was in your average Mutant Pop or Vital Music mail-order catalogs. No doubt the original 7"-ers that are compiled here instantly tripled in value on Discogs once the track listing of this compilation started spreading around. Speaking of prices, some doof who did a write-up of this comp on Noisey or Vicey or one of those things dropped this brilliant observation, in an attempt to sound knowledgeable: "Typically released in small quantities with little to no promo budget, most ended up in the $3 bins of independent record stores." Dude doesn't know that three bucks was the typical price for a new 7"-er back in the '90s, apparently. (Shoulda put "50 cent bin", which is where most of the singles on VML ended up.) What do chumps on Noisey listen to, anyway? Shit like Thee Oh Sees and Trash Talk and Ceremony, I'll bet. Meanwhile, I'll be over here clutching my LSOK and Stiffs records while the chump on Noisey gets 10000x the readers that my blog gets. Good job, chump.
Two of the guys in Tar were once in a band that put out one of the worst hardcore 7"-ers ever (Blatant Dissent), and one of the guys in Tar (the drummer) once piloted one of the worst fanzines ever (Non-Stop Banter... no, wait, it was the Big Yeah), but that was okay once Tar records started coming out because Tar records was good stuff. I remember getting the first Tar single - the one that looked like bingo cards - and thinking to myself, alright, here's another good band to start paying attention to. "Handsome" came out afterwards, and even though it had only one really good song on it, overall it was still pretty ace. A bit too much like Big Black if Big Black had a real drummer, but whatever. Tar also had a habit of using the words "Chicago" and "Albini" on all of their record sleeves at least three or four times, don't know what that was all about; I guess they were from Chicago and were friends with Steve Albini, or something. If you dig Tar and want to check out more (besides the CDs that used to litter every dollar bin back in the late '90s, those were the days), there's a retrospective double-LP that came out on Chunklet a couple of years ago which was the recipient of one of the most effusive handjobs in the history of indie music-crit writing ("a litany of minor and 7th chords" etc etc) by some blog that writes about music a lot. Not this one, obviously - like I could give a shit.
Carbon 14 was one of those ubiquitous glossy-covered typeset 'fanzines' from back in the '90s that sucked pretty wildly, which I know is my standard reaction to most '90s zines: "it sucked", only this time instead of just relying on my memory I've got a Carbon 14 zine review from an old issue of Brushback to back me up ("used to be when a zine sucked it was a xerox job that only cost 50 cents, now they're all full-blown mags that cost 5 bucks and it's starting to get on my nerves"). One issue of Carbon 14 came with a Chrome Cranks 7" that was so awful that it swore me off everything else by Chrome Cranks from there on out -- I dunno, did I miss anything? I ended up buying one more issue of Carbon 14 after that, which was terrible as well, but the EP that came with it was actually pretty solid, as far as the b-side goes at least. The Ultra Bide track is borderline heavy/insane, and the Cosmic Psychos track -- which I'm sure is the reason why I relented and bought the thing -- is a 'very metal' version of "Back In Town", or "very meht-tahl" as Dee Snider used to say it.
My record-buying patterns tend to have peaks and valleys, sometimes leaving me with crates of records that I bought 5 or 6 years earlier without ever listening to them all that much or even paying attention to how big the pile was getting (like, I somehow managed to end up with three or four Purling Hiss LPs, what the fuck). Psychedelic Horseshit are one of those bands with multiple records in the crate, almost never to be taken out unless it's to post a picture on Tumblr or something (inside joke, ignore it). I mean, their shit's sorta cool in theory -- "Poor Fidelity Mixed With In-Jokes" was always my go-to bin at Record Town, and putting "New Wave Hippies" on an album being released by Siltbreeze is about as funny as it gets -- but in a lot of ways their shit's kinda flimsy, too. Maybe I kept buying their records because I was hoping one of 'em would stick, I dunno. I did that with Pavement back in the '90s, and look what happened: they suck now. (Actually, that's not true, I've never bought a Pavement record.) Maybe I'm holding onto them because I'm hoping for a massive lo-fi revival soon, and I'm gonna be on the ground floor of that thing, you bet, or as soon as the Youth Crew revival is over, at least. Maybe Box Elders will become cool again. Or maybe there's no point to this I'm just rambling to fill space. Hey, go read Paste or that jerk who writes reviews for Tiny Mix Tapes, why don't you? Stop bugging me. The fuck.
To my ears, CIA's "God, Guts, Guns" is easily the best '80s hardcore 7-inch to ever come out of Connecticut, especially if you don't count the Youth Korps demo, which I sorta don't because the Youth Korps EP was only released as a bootleg after-the-fact (the list kinda goes 1. CIA 7", 2. Violent Children 7", 3. Can't Close My Eyes or Hit Squad for God or No Milk on Tuesday or something, 4. Reflex From Pain. I dunno, it's kind of a rough draft, maybe I'll keep working on it). I think makes the CIA 7" such a classic record is that the sound is fairly hefty -- you almost can't beat the mix between all the elements, guitar drums vocals bass, it's practically perfect -- plus all of the songs totally rip and are way catchy as far as hardcore songs go. Bones has always been a very underrated vocalist, or underrated by me at least since I was never the biggest fan of 76% Uncertain (FYI: CIA and Reflex From Pain eventually morphed into 76%), but Bones could carry a melody and his voice had a lot of grit to it, which overall made "God, Guts, Guns" sound relatively tough and on the level of some of the best Boston and NY records from back then. The lyrics are some clever horseshit, too.
"God, Guts, Guns" was re-issued a few years ago as a 12" with some bonus tracks, which is what I'm posting here; if you want to hear the original EP, or the Youth Korps EP while you're at it, then it's pretty easily found on the internet (Erich Keller's "Good Bad Music" blog is usually good for that). Admittedly, the bonus tracks aren't all that great, especially the covers and live tracks on the flip, but the Audio West demo tracks and the outtakes from the 7" are pretty useful. "Violence" was originally released on the Fartblossom Enterprises "Empty Skulls" compilation, I'm pretty sure, so you might've heard that one before. Todd and Kenny from 76% have a new band now called Watchlist that just released an album that's surprisingly very solid, comparable to Off! and stuff like that, and you can peep that stuff over here --> https://www.cdbaby.com/cd/watchlist
This is a mix that I posted the other day on Tumblr, which is where I hang out all day now instead of doing something useful. It took me a while before I remembered that I also have a music blog -- although that's a bit of a stretch, as it means you have to count a readership of .001 per day as "having a music blog" -- and so I decided to post it over here as well. This isn't a mix of mostly new tracks, more like just a batch of songs that I've been listening to in the car lately that I thought fit well together, so I made a mix out of them just for ha-ha's. There's even a hidden message involved, although it's probably not that important and besides I totally just forgot what it was anyway.
1. Judas Priest - Delivering The Goods
2. Nasal Boys - Hot Love
3. Bloody Knives - Broken
4. Triage - Triage Theme
5. Chlorine - Power
6. BÄDDAT FÖR TRUBBEL - Inte Varit Sü Tuff
7. Randy Newman - Gone Dead Train
8. Daddy Maxfield - Rave ‘n Rock
9. Thank You Mr. Keating - Gentle Jesus and Drugs
10. Dead at 24 - When Delirium Comes
11. Boulders - Her Taste
When I heard that there was going to be a new Speaking Canaries LP out on Chunklet, I almost pissed my pants. Not literally, of course (it's not writing* if you're not lying just a little bit), but I was still pretty damn excited. Robert Griffin had mentioned years ago in the liner notes to 97 that there was an unfinished Speaking Canaries LP just laying around somewhere, "scrapped due to lack of funds, and Damon is somewhat ambivalent about completing it", but I'm pretty sure that's not what this is. What this is, in fact, is the first-ever Speaking Canaries recordings from 1990, meaning prior to "The Joy of Wine", even. Now, I love all the Speaking Canaries records as if they were my own children (there's that 'lying' part again), but "Joy of Wine" doesn't represent the best level of rocking out of all of them -- hey, you can't have all five of them be your favorite -- but fear not, "Platter Base Must Be Constructed of Moon Rock" is easily on the level of "Terrestrially Challenged", "Life-Like Homes", and "Get Out Alive" as far as quality-of-rockin' goes. I don't remember hearing any vocals on any of the tracks, which is why they're labeled as demos I guess, but this is definitely not basement-level sonics here. I haven't heard the vinyl yet, which I'm sure sounds amazing, but I was listening to the files in the car and when "Winning Son" came on it just exploded out of the speakers. You may recognize a couple of the song titles from other Speaking Canaries releases ("Toblewee Uslywus", the aforementioned "Winning Son"), but the tracks that I've never heard before or possibly didn't end up as other songs are total fucking hurricanes. "Mitchum Dope", "Hall of Force", etc etc, will all blow your head off like the rotten melon that it is, especially if you dig ROKKK, which I kinda fucking do. *ha ha, I called this writing
"The Cuss Set" by the Guinea Worms should've made my best-of 2014 list, but I chickened out and made up some sort of rule about 'physical releases only', which was total bullshit because then I snuck some Bandcamp-only releases on there, so basically I don't know what the fuck I'm talking about. Actually, the only people who talk about their best-of lists after the fact are jerks like Dan Moserock when they're throwing some band overboard just for spite, and who wants to be like that? (Lots of people, apparently.) (oh, by the way, you haven't been sending me enough promos, the next thing your label sends me is getting a bad review.) (shit, Earles forgot his inhaler again.) Anyway, "The Cuss Set" starts off with a somber, single-minded piano riff called "Booze's Control", which right away sets up the notion that this isn't going to be the big-rock yuck-fest that maybe you were expecting, plus is some sort of pun on Blues Control, I'd imagine (no ending is implied, but it comes quickly enough anyway). Most of this is actually sorta Neil Young-ish in a way, especially "Lady Shrapnel", which hints of Crazy Horse big-time; elsewhere there's a line that goes, "So this is rock 'n roll autumn, in the county of heart". Old man, take a look at my life. Wait, "Sober Jerk" is a giggle-fest, I take that back. The best pun on the whole thing is the song title, "Super Willin'", which fits three purposes: 1) It's a pun on 'super villain' 2) It says he's super-willin', like, for anything, maybe even enough for Little Feat 3) His name is Will, so he's super-Willin' it. Obviously I should've ended this review a couple of sentences ago.
At one point maybe five or six years ago, if you ordered a bunch of stuff from any of the record label distros they'd throw a handful of CDs into the box as they were mailing it out, just to get rid of 'em. No doubt the CD boom came crashing down so hard that they all got stuck with thousands of lame clunker CDs that were never gonna sell, so it became like that Mitch Hedberg joke about people on the sidewalk handing out flyers: "here, YOU throw this away". I don't think I ever actually listened to any of the free CDs that I got -- I mean, what the fuck do I care about Small Brown Bike -- but when I found a bunch of them in a box while I was moving a couple of months ago, it was like 2007 all over again. I couldn't tell what this one was at first; the spine just says "My Heart Is A Merciless Piece Of Metal And Fire" so I figured what the heck, any band with a name like that has got be completely hilarious, right? Then I looked it up on Amazon, and that's just the title of the album while the band's name is really Crucible. The only funny part to all of this was reading the bitchy review that some nerd left on Amazon because he apparently thought this CD was by another band named Crucible (some prog-rock/Genesis rip-off) instead. Gosh, I hope you were able to get your 9 cents (plus shipping) back, nerdy Marillion-ass-sucking guy.
I got picked for MRR's Monday Photo Blog the other week, which was kinda cool. It's actually the second time I've been picked, so I'm practically my own category on the MRR website now (this isn't true, I'm just making it up to be a jerk). You can scope 'em out by clicking on the links here:
I was out at a food place last night, the one that normally gives you a chocolate chip cookie w/ their $5 meal, only they left out the cookie and when I asked about it they told me, "we ran out, there'll be some more in like five minutes". So I figured fuckit, I'll wait, I'll get it afterwards when I'm done eating, because I kinda like fresh chocolate chip cookies. Plus, you know, they owe me a cookie, motherfucker. When I went back to the counter a few minutes later, the guy says "well, they just came out. They're kinda soft, you probably won't want one yet because it'll bend." I said, "that's fine, I don't care." Then the guy says "well, it's kinda hot, you don't want to burn yourself." Fucker was trying to talk his way out of giving me the cookie! I mean, come on, for a 2" chocolate chip cookie to burn you, that's gotta be the hottest cookie in the universe. Guy's acting like he's about to hand me molten lava or hot moon rocks or something. Go in the back, put the metal suit on with the Homer Simpson tongs, and hand me my cookie.
Anyway, here's some pictures from a show that I went to.
Even though I'm not planning on shutting this blog down just yet, updates will continue to be minimal. Obviously Blogspot has long since kicked the bucket as far as being a useful platform for anyone who's even slightly interested in having other people see the work they're doing and maybe starting a discussion over it. For now, Tumblr has become the place where I've been doing most of my posting as far as bands and photos go, so until Tumblr dies off too, you could skip on over to there if you'd like. Or you can close the browser window and go read a zine, I've heard they've been making a comeback, even though (according to the interviews I've read) Jay Hinman's is the only one that exists so far.
For the record, I have not only lost my ability to take a joke, but I can also no longer sense danger, communicate with sea animals, see through walls, transform myself into a bucket of water or block of ice, burn a batter's bat to ashes with my fastball, fly an invisible plane, nor start fires and cause seismic waves using only mind control.
The labels that have enough money to buy advertising all put out shitty records
If you sent me something I must've lost it
How to use this blog
You can browse this blog and listen to the songs without having to download them first, by clicking on the highlighted song titles. The files will open in a new window; you can either hit "Play", or you can click on "Download" up in the right-hand corner to download them to your computer, which is the preferred method, because there's usually a cool graphic (or sometimes even lyrics) when you play the files using Windows Media Player.
Also, clicking on the photos will enlarged them. I guess some people haven't figured that out yet.
Thee ex-fanzines (all of these sucked, you're not missing anything)
Run It #3, January '86
Boris #1 (i.e. Run It #4), May '86
Dig 'Em, December '86
Brushback #1, June '87
Brushback #2, March '95
Brushback #3, May '95
Brushback #4, Oct '95
Brushback #5, Fall '96
Brushback #6, Fall '97
Incremental Decrepitude #1, Aug '11
Incremental Decrepitude #2, Feb '14
Incremental Decrepitude #3, Sept '14
"Within a grainy film-still between a summer sunset and the end of times lies the post-punk squall of Weekend. Weekend filter the aggression, tempo and sneer of punk through a wall of reverb, haunting melody, feedback and primitive garage guitar.... a totally distinctive take on the history of post-punk noise rock."
Recent awesome-like stuff from those other blogs
fucking nothing, can you believe that. blogs are dead
This blog was originally intended to be a place for me to write about the records in my collection, regardless of their rarity/collectability-- or, at least, it was when I first started. Lately it's just been an excuse for me to make dumb jokes and spout off about a lot of stupid crap. Sometimes different things will be thrown in along the way just to confuse people and piss them off, which is okay. All screw-ups, wrong dates, and mis-statements will be ignored by me as if they were intentional, except for grammatical errors which will be edited and rewritten at least five or six times if necessary. Facts will often be misrepresented, as a way of mocking those people who think such things are important. Please note: This is just a hobby for me, and bands are written about here either because I own one of their records or because I've seen them play before and like them. Posting press releases for crappy bands that I have no use for is not really how I want to spend my spare time. If you want to know what kind of bands I like, just look at the sidebar to see which bands I've written about already, and you'll notice that your PR firm doesn't represent any of them. Most of the live band photos on this blog are mine, and if there's one of your band that you like then please feel free to use it, I don't care. It's your band anyway. The blog title itself was swiped from Paul Caporino-- "One Base on an Overthrow" was originally going to be the title of a M.O.T.O. record that I was going to release back in the '90s, but that never actually happened. Lucky for you, I guess.