Here is the bonified really really ultra rad/super cool NEWS ARCHIVE page...
Fort Collins-based Matson Jones has been around for a couple of years, but it's only in the last few months that the group has really started carving out its empire. Not that the coed quartet seems crassly ambitious; instead, it's wholly focused on creating music that obliterates expectation even as it captures the brain and heart. With a lineup comprising two cellos, stand-up bass and drums, the outfit crafts a seething, tense tangle of sound resembling that of a chamber-punk PJ Harvey. Newly signed to Sympathy for the Record Industry, Matson Jones stands poised to whip its captivating whisper into a full-on roar. "A Little Bit of Arson Never Hurt Anyone' is taken from the debut self-titled album (also released in june) and the b-side 'New York City Fuck Off' is exclusive to this single...edition of 1000
The almighty DWARVES return with a new 7" from the accclaimed "DWARVES MUST DIE" album guaranteed to destroy your speakers and molest your suspicious mind. Critics and fans alike have embraced this album as one of the most audacious, eclectic and listenable releases in rock history. Spanning all genres with elements of punk, pop, hip/hop, noise, thrash, surf, rockabilly and turntablism "THE DWARVES MUST DIE" has garnered commercial radio support without sacrificing the patented shock and awe lyrical terrorism and full frontal nudity that have made the DWARVES legends in their own time. The A-side "Like You Want" is an instant garage classic combining the best of the Stooges and the Standells. The B-side contains 2 excellent unreleased live recordings from a radio broadcast.
Coloured vinyl limited edition of 1200
Legendary songwriter/artist Daniel Johnston and his horror-rock combo The Nightmares are back from the grave to deliver a new album. "Freak Brain" was produced by Jesus Christ and was recorded on a 4-track machine in a real haunted house somewhere in Texas. Johnston, notorious spook, warped mastermind, and the subject of a current award winning documentary again teams up with his two teenage nightmare friends to create an album unlike anything you've heard from Daniel before. Twelve unreleased songs inspired by love, hell-chicks, holidays, and of course the death of Satan. "I Don't Wanna Be That Way" finds Daniel playing electric guitar and bass with Jason playing improvised guitar and farfisa organ, and Bridget keeping time. All Rock 'n Roll, no bullshit. for those who have always wanted to hear a true Rock 'n Roll album by Daniel Johnston...Here it is.
jesusboy - pretend you're dead - happy valentines day - freak brain - the lord loves you -haunted house - see satan die - lucifer tonite - soldier (i don't wanna be that way) - hell chick of rock n roll - souvenir - twilight zone love
The original release of Mumps first single “Crocodile Tears” led to nationwide underground radio play, and rave reviews around the world. Coming from a point in time, before MTV, Mumps were a 70's era New York rock band that were too pop for punk and too "old school" for the New Wave. Their music spoke to the true misfit class of American teenager. Not the poetic James Dean type dream outcast, but the real, nerdy, nobody wants em, forgotten teens. You know the type. Too square to be down with the homeboys too idiotic to be up with the illelectuals, too insecure to be the center of attention and too impatient to just sit at home and wait until they get to be 21. Mumps music spoke to the disenfranchised, kids who wanted to fit in any place but fit in no place instead. This record is for the dorky youth. For kids who are dumb, unpopular, and considering a lifetime fraught with serious adjustment problems. It is also for anyone with an itch for brilliant pop music. The B-side, "Waiting For The World To Catch Up" is exclusive to this single...coloured vinyl and limited to 1000 copies
12" comes in plain black sleeve
$ 10.00 u.s. $15.00 outside u.s.
Since 'The Dwarves Must Die' exploded into record stores in September, alternate mixes started appearing on specialty radio shows and bootlegs have started appearing in vinyl shops worldwide.
To give the people what they want Sympathy presents
this 'bootleg' 12" which features-
FEFU- hilarious 'clean' remix featuring nasty sounds
and brutal rock
KIDS TODAY- first vinyl appearance of this track from Rock Against Bush vol. 2
MASSACRE- 'clean' remix of the song that inspired all the violence, the original rock n' roll battle rap!
CHRIST ON A MIC- instrumental features church organ against industrial beats
HEAD RIGHT- Greedy Bros. classic Mondo G. remix, the dance sensation sweeping the nation
Get this record before it's gone forever! limited to 1000 copies
Both The Willowz and Scarling are playing the dreaded SXSW fiasco in March. Who cares? This single is being made for the bands to sell at their shows in hopes of generating enough money to buy barbecued animal sandwiches and some sort of alchoholic beverages in the event the 100.00 they are paid by the festival promoters for performing does not stretch far enough. The single features 1 song by each of these exciting bands from upcoming Sympathy albums (maybe even alternate versions) and we are offering 500 for sale through Sympathy for those not fortunate enough to attend the ever so wonderful festivities in the ever so wonderful city of Austin this year. Thats it. Your move.
Part II of SFTRI 2005 "Are Coming" which
was released early this year will be in stores in April.
Richie James Follin on guitar and vocals, Jessica Reynoza on bass guitar, Alex Nowicki on drums, for this set have added Dan Bush (Four Letter Words, This is Revenge, and Makeout Party) on additional guitar.
The band has successfully moved away from the genre specific alt/garage of yore and into the realm of offbeat time signatures and polyphonic arrangements managing to keep the listener on their toes while maintaining "the 2000 year old guitar hooks" and vocal melodies that the Willowz are known for.
CONS AND TRICKS, a brilliant guitar driven song lyrically describing a "typical" outing of frustrated musicians’ angst dealing with "bacon sandwich eating" record executives. In this song Richie James Follin sings, "Cons and Tricks they get me through, I'm full of cheats I'll cheat you too", and then he goes on to say, "my mother tells me not to do no wrong, the little kids they sing along".
HORN SONG opens with a ninety year old man on a bell horn leading into a semi-bluesy smack in your face guitar hook with over-laying doubled vocals which leads the listener into a predawn orgasmic wonderland. In this song Richie brilliantly states, "If jobs were work I'd never be late". An alarming work.
This album intelligently thrusts The Willowz through and beyond the vast void of current mainstream rock with songs like BREAK ME DOWN which feels like amplifiers and guitars being dragged down the street from the back of a pickup truck. Keith Morris (Circle Jerks, Black Flag and Midget Hand Job) calls in a cameo on WE LIVE ON YOUR STREET. The song SHRIEKE gives a nod to the 15-year-old drummer, Mike Shrieve of Santana (Woodstock era) while Alex really takes you back to another time zone.
The entire album is filled with the bands experiences and disillusionment being put through the wringer with the record industry but showing they have still not lost their innocence and passion to make great rock n roll and are proud to have their second release with Sympathy For the Record Industry.
side A - Ulcer soul - Unveil - Cons & Tricks - Making Certain - We Live On Your Street - Whats Wrong Is Right
side B - Blind Story - Dead Ears - Shreik - Horn Song - Toy - Lock Me Out
Ulcer soul - Unveil - Cons & Tricks - Making Certain - We Live On Your Street - Whats Wrong Is Right - Blind Story - Dead Ears - Heartstrings - Shreik - Sleep At Night - Horn Song - Toy - Lock Me Out - Equation #2 - Linear Communication - Walk Straight - Categories - We Can Die Now
$18.00 in the US, $24.00 outside US
An overview By Kristian Hoffman
photo by Jenny Lens
Kristian Hoffman first met Lance Loud in Mr. Baker’s art class at Santa Barbara High School. Lance was pinning dead avocado leaves to the neck of a huge papier mache sculpture of a dodo bird. This vision set the tenor for many of their subsequent adventures together.
Even though they recorded a pre-release version of
the Rolling Stones playing “Brown Sugar” at Altamont, and
claimed authorship of that revered composition until “Sticky Fingers”
was released, Lance’s and Kristian’s shared obsessions for
the Velvets, the Stooges, The
Kinks, Sparks and the Small Faces might never have led to forming a “real” band had they not run away to New York City as teenagers and witnessed the explosive birth of the New York Dolls. This was all the encouragement they needed.
It wasn’t enough for Kristian to just design the famous “Bendover Girl” insert for the Doll’s first album - Kristian and Lance HAD to form a band. So conscripting S.B.High School alumnus Jay Dee Daugherty, along with shy Vermont transplant Aaron Kiely and D.C. guitar god Rob DuPrey, the Mumps were born.
Mumps rehearsed, wrote a set of crazily varied glam pop kitsch ditties, and opened for Cherry Vanilla at Trude Hellers for their live debut to a crowd that included David Bowie and Tomata DuPlenty.
But it wasn’t until their friend Richard Hell dragged them down to the Bowery to the then unknown club named CBGBS, that Mumps found their spiritual home where they could grow and blossom into one of the most popular and revered acts of the late 70’s NYC punk movement.
Jay Dee Daugherty was famously seduced away by Patti Smith amid tears and recriminations, and Aaron Kiely returned to Vermont. But the new Mumps with heartthrob Kevin Kiely on bass and rock solid Paul Rutner on drums emerged more powerful than ever.
Mumps found their real voice with critically lauded compositions like “Crocodile tears” and “Anyone But You”.
Mumps combined Lance’s hyperkinetic energy and impromptu witty asides with dayglo thriftstore/pimp finery, a methedrine rush of crazed leaping, falling and posing, a catalog of bitingly sarcastic yet hummable originals, and a scorching rock assault that belied the preciousness of their Britpop forbears to make their shows inimitable blasts of barely contained musical chaos.
Regular weekends at CBGBS and Max’s opening for Television, Blondie, the Ramones, and other popular art rock congregations of the time like Isis and Orchestra Luna, plus incessant east coast touring, led to ever increasing popularity and soon they were headliners.
Malcom McLaren told Mumps “Besides Richard Hell, you are the ONLY interesting band in N.Y.!” and returned to London to retrofit Mr. Hell’s look and attitude and a dash of the Mumps crazed panache onto the still glam boogie Sex Pistols. John Cale wanted to produce “Before the Accident”, but Mumps vetoed the early Sparks-flavored composition in favor of going to California to record “Crocodile Tears.”
As the first NYC “punk” band to play Los Angeles, Mumps were welcomed with open arms (and beds!) by all of the L.A.underground’s congnescenti and nascent punks-in-waiting: the Screamers, the Germs, the Zeros, and future members of the Go-Gos, the Bags, the Dickies, and the Gun Club. The Mumps unquestionably inspired a legion of aspiring L.A. musicians to take their rock dreams more seriously and get out there to DIY. Playing with the Dead Boys, the Quick, Devo, Cheap Trick, and Van Halen(!) quickly brought Mumps the kind of screaming adulation they also received in Philadelphia, Boston, San Franciso, and Washington D.C.
The rapid release of Mumps first single “Crocodile Tears” produced by the saint of L.A. Pop Earle Mankey led to nationwide underground radio play, and rave reviews in England and France.
With John Hewlett (of 60’s brit outrage-mongers “John’s Children”) and Joseph Fleury (who also managed Sparks) as managers it seemed the juggernaut was unstoppable.
But somehow, as nearly all of Mumps contemporaries went on to label deals and internationally released albums, the Mumps remained curiously unsigned. Was it Lance’s flamboyantly outrageous open sexuality? Was it that the Mumps were too “pop” in a market increasingly geared to punk-by-numbers? Was it that the Mumps were perceived as cashing in on Lance’s notoriety from the controversial PBS documentary “An American Family”? Was it that Mumps’ live shows could be inspiringly energetic, but of maddeningly inconsistent technical prowess?
It mystifies and rankles to this day that Mumps were never given a chance to give their best compositions the studio treatment afforded even the most marginal NYC outfits like the Tuff Darts. But at the time it just caused Mumps to turn inward and blame eachother. Your first band is like your family - and you fight and blame the way brothers do - not like “professional” musicians. So even though Mumps returned to New York to a second wave of adulation even greater than the first - the first audience of artists and musicians and East Village bohemians had given way to genuine hordes of screaming salivating panty-throwing teenage girls, as documented in so many articles of the time - Mumps became disillusioned with their lot and doubtful about their future.
After a self released second single, “Rock and Roll This, Rock and Roll That”” received wide critical praise and admirable sales, but still failed to inspire a label to sign them, Mumps agreed that if a scheduled demo session for Sire records failed, they would call it quits. Without the manifesto statement of an album to back them up, and help them position themselves alongside their contemporaries as artists to be reckoned with, Mumps felt the battle was no longer worth it.
Seymour Stein, for reasons unknown (although Lance insisted at the time a single unperformed blow job was to blame), passed on a demo of songs that inspired such teen tribal rioting at our live shows that even Mumps themselves were alittle scared.
Of course the two hours in Sire’s basement with a studio hack did not quite capture the voodoo that made the girls go wild, but wasn’t it the label’s duty to see beyond that? But they didn’t - and so, unceremoniously, Mumps passed into history.
But with the explosion of the internet and the 1995 release of the “Fatal Charm” compilation, it was apparent that a whole new generation of pop/punk aficianados were ready to lap up what the major labels had denied them - and now we’re ready to prove once more that Mumps can still make you Scream - and Scream Again!
I Like To Be Clean
Rock & Roll This, Rock & Roll That
Scream & Scream Again
Just Look/Don't Touch
Did You Get The Girl?
Anyone But You
Before The Accident
Forget Me Not
We Ended Up
Dance Tunes For Underdogs
Crocodile Tears (the mankey version)
Plus more still being compiled
Years after they played their first ever gig at the invitation of Joey Ramone in NYC, come the first US release from Helen Love, the band responsible for two UK Top 100 singles, countless British Indie chart smashes and all those Radio Hits. The BubblegumKillers EP is four fresh slices of punk-pop action, all on one Sympathy For the Record Industry recording. For Helen Love, the punk-rockin' bubblegum-poppin' disco-dancin' big-beatin' all-girl British indie-pop sensations, it marks their first recordings since guesting on Joey Ramones' solo album "Don't Worry About Me". Think CBGB's meets Studio54 in a downtown Swansea backstreet. Think Glitter Balls and fake Les-Pauls, think The Ramones mixed with Casio-Tones and you're maybe half-way there. Including the Internet smash "Debbie Loves Joey" and three other brand-new tracks (including "The Continuing Adventures of The Girl About Town"), The BubblegumKillers EP serves as a timely reminder to what the music scene has been missing for the last few years. They've already produced three albums full of songs that'll blow your speakers, kick out the jams and make your heart go boom, so check out Helen Love and The BubblegumKillers EP.
ARISE! THE PARTY IS NOT OVER!!
Get off your ass and levitate! Finally Its Here. Les Sexareenos third full length! 28 raving lunatic tracks of pure “un-adulterated” Rock and Roll. Les Sexareenos travelled all over the world on their crusade for “The Ultimate Rock and Roll Dance Party Record”. From Detroit’s Ghetto Recorders with Jim Diamond, To Seattle with Kearney Barton of Sonics/ Wailers fame, all the way to Japan with Shuhei Rock of Gasoline, Les Sexareenos have cooked up for YOU the treasured listener, A Juicy Collection of Singles and Outtakes, a quintessential compilation of hit singles, live shows, and rare and unreleased material on one plate. This platter will have all the kids, doin’ the hog and piggin’ out on this veritable feast of party Dancers!! The best guest at any party, 5 years in the making and spanning their career from the first forty five to their later live performances on tour around the world, this album is a classic. Les Sexareenos, Rock and Roll forever! And don’t your forget it buster.
(postponed indefinately due to
an unsympathetic wally in the UK)
There's nothing that hits the spot like the sound of a righteous woman screaming with all her might and there are only a couple singers that do it well. Kathleen Hanna does it in Le Tigre and Kat Bjelland from the legendary, Babes in Toyland does it in her new band, Katastrophy Wife. 'Big, cracked, ready to swell, Throw your thoughts to the wishing well'. So begins "Liberty Belle". It is dirty. Greasy floor dirty, head down the toilet dirty. Bjelland wants to rub your face in it. Lifted from the Sympathy full-length, "All Kneel" being released in January it is abrasive/intense/ fuzzed-up/considerably unhinged and bursting with crude raw power. The b-side, "Butter" is a non-album track and another one that will fry some gray matter and if used properly it could possibly aid in exorcising any lingering personal demons... edition of 1000
The Willowz first release was a 7-inch on Posh Boy Records in 2002 (while the Willowz were still in their teens). Shortly after they released a 9-song ep on Dionysus Records. It quickly sold out the first pressing and was named record of the year by OC Weekly. Their most recent tour of which was to support their UK single (on XL Recordings) won single of the year in the UK magazine, Infromation. In February their first full-length release on Sympathy will include songs from the previously released ep and brand new unreleased material with snappy new packaging. In the Spring of 2005 Sympathy will be following up with the first proper all new full-length of material from The Willowz. This record and the follow up will be a sincere severe shot at all the unenthused, inauthentic music that seems to be ruling the airwaves these day. Brace yourself!! THE WILLOWZ ARE COMING!!
1. Equation #6
2. Keep On Looking
3. Meet Your Demise
6. Put Together
9. Wake Up
10. Not You
11. Get Down
12. I Wonder
13. End Song
The Willowz reigning from Anaheim, California are
Richie James Follin, Jessica Reynoza, and Alex Nowicki.
“Punker than the Ponys, and even more childish, but just as vulnerable. Maybe youth is feeling fragile these days” Village Voice
Trash pop, soul punk, nugget freaks, are what the Willowz have been described as, but they also seem to represent their Orange County/Los Angeles roots… “Slick and fatty; you could roll corn dogs with it. But live and unpolished, they’re rolling down a hill in a trash can, punky kids pinching Nuggets riffs into sloppy-but-smarter-than-it’s-supposed-to-be teenage rock.” OC Weekly
As well as releasing their first material, this year has also seen them get an incredible start to their career. Michel Gondry (he of Björk, Chemical Brothers and White Stripes video directorial fame) discovered them whilst scouring the web for music for his film, ‘Eternal Sunshine of the Spotless Mind’ and, upon loving what he had stumbled upon, promptly used ‘Something’ and ‘Keep On Looking’ to soundtrack a scene with Kirsten Dunst dancing around in her underwear. Not the sort of thing that happens everyday. It doesn’t end there though. Michel has gone on to make a suitably odd video for “I Wonder”.
The A-lines are four ladies who hail from Seattle and Belgium and London. Their sound is that of a genuine girl punk band of the 70's rather than a manufactured garage group of the 21st century. They play garage-punk without playing dumb and are not afraid of a good melody or straight forward rock n roll. All this and The A-Lines also have one of the finest pedigrees in underground girl group history, members having featured in the likes of Thee Headcoatees, The Stuck-Ups, Mambo Taxi and Dutronc to name but a few. Produced by Billy Childish this LP is set to become a bench mark by which future girl groups will have to measure themselves.
Wrong Way Home
You Can Touch
More Wax Please
Last One There
Take a catchy pop song driven by punk energy, add an exuberant female singer with an inclination to scream occasionally, and what do you have? Avril Lavigne, no dumbshit! THE MUFFS. Having had their start on Sympathy way back in 1992 they then went on to record for Subpop, Warner Bros and Reprise, THE MUFFS have now returned to their indie roots with Five Foot Two Records (cd) and Sympanthy for the Record Industry (lp) for their new release, "Really Really Happy". Fronted by Kim Shattuck and backed by bassist Ronnie Barnett and Roy McDonald on drums, THE MUFFS entered the studio and composed 17 hook-happy power pop songs that could be their best effort so far.
"Really Really Happy" is their first album for five years. This much beloved & venerable L.A. combo are back with a vengence and with their sharpest, most focused and dynamic set of songs yet! The album is a relaxed, raucous, sonically rich affair stacked with larger-than-life songs of hook-happy power-pop. These are some of the best songs of the band's career - a career that has spanned over a decade, with the release of four studio albums bursting at the seams with a slew of classic songs that have secured them a devoted following world-wide. If you're a fan of THE MUFFS (and who isn't) "Really Really Happy" is a definite must have release.
yep, number 3 in the series is now available, here are brief descriptions of some of the bands, along with their histories : The Cheating Hearts - 3 kids out of the small town of Chicoutimi, a party mecca 6 hours out of Montreal. Take the dirty blues/rock’n’roll of the Oblivians, Cramps, filter it through the most drugged-out Heartbreakers shit and add some Stones-y guitar. This young rock’n’roll trio gets the girls’ knees shakin and their asses grindin’. Scat Rag Boosters - Raw, primitive Montreal blues-punk trio (two guitars and drums) a la Gories/Oblivians that has existed since 1995. They have released four 7”s in the US, France and Italy, and have more stuff coming out soon. They have been courted by many labels including Crypt Records, have toured the US and been getting excellent reviews around the world. Les Sexareenos - True rock’n’roll for dance-parties and make-out sessions. The best elements of garage, punk, soul, frat, R&B, soul and rock’n’roll. The Daylight Lovers - Montreal punk rock’n’roll trio that combines the sound and excitement of the Devil Dogs with a love for more obscure 70’s punk and 50’s rock’n’roll. They have an LP on Sympathy. They’ve toured the US several times, and have been riding a wave of well-deserved live-show hype that continues to grow. The Del-Gators - 6-member Montreal Soul/R&B/Rock’n’roll band who formed about a year ago. LP/7” on Sympathy. They manage to capture the best elements of Specialty and Sue, while incorporating the magic of the early Stones. Powerful dual-gender vocals blend perfectly with a band steeped in loose, soulful reverance. The Deadly Snakes - These 7 Toronto nogoodniks have been churning out Stax-influenced, sweat-soaked, barroom rollers for a couple years now, turning heads and converting the lame. Great shit that’s worth the hype. Ray Ward & The Sharks - New Montreal trio featuring 2 guitars and drums. There hasn’t been rock’n’roll like this since the days of Dale Hawkins, Johnny Carroll and Eddie Cochran. This trio captures the sound and energy of Sun Rock’n’roll. Without being retro, this is a tribute to a long lost legacy. True to the classic sound – a must for rockabilly and rock’n’roll fans alike. Wrong Doers - Newish Montreal duo. They blend country and blues influences with a fucked-up punk energy. Very noisy, very stripped-down and loose without comprimising their power and intensity. They have upcoming singles set for Europe. Sardines - 4 disenchanted kids from Toronto get together to play a cool mix of southern soul, garage and anything else that passes through their corrupted heads. Very new and very cool – like Booker T. fronting the Milkshakes. Royal Routes - Trashy Montreal 3-piece who play desperate soul and rock’n’roll so loud you have to dance from going into a fit of abandon. They crazily grab at a catalog of intuitive influences and spew it out with almost no focus – you can hear where they’re coming from, but have no idea where they’re going. Another band that proves Montreal to be an incredible city for rock’n’roll. BBQ - One guy playing drums, guitar and singing at the same time. The dirtiest mix of soul/rock’n’roll/doo-wop and R&B. Guest female vocals create cool duets. Crazy. The Gangbangs - Very intense, full-blast punk rock a la Crime or early Black Flag that numbs your senses. The kind of music that makes you squint, from a band who can see inside your head. Upcoming release on Sack O’Shit. They came out of nowhere, and are the talk of the town with their timeless, naturally punk sound. No posturing.
Stack O' Lees - All the Way to My Grave
The Cut Offs - Rock 'n' Roll Soldier
BBQ - Hang On
Scat Rag Boosters - Owe Money
Scat Rag Boosters - Fat Bottom
CPC Gangbangs - Gone Black
Les Sexareenos - Baby I Grind
Les Sexareenos - Out The Door
Royal Routes - She
The Del Gators - Kukamonga Train
The Deadly Snakes - Big Bird
The Deadly Snakes - Talk About My Baby
The Sunday Sinners - Are You Sure
The Cheating Hearts - Heart Attack
The Cheating Hearts - Horse Fever Blues
Stack O' Lees - Masked Marvel
The Cut Offs - Death Rattle
BBQ - Debra Lee
The Sunday Sinners - Loretta Lynn
CPC Gangbangs - Suicide Ride
Royal Routes - Restless Night
This is the second album by Jack-O (aka Jack Oblivian/Yarber) and The Tearjerkers. The first was the brilliant, 'Bad Mood Rising' (sftri 643). Jack is known for being in just about every cool band that ever slithered out of Memphis including The Oblivians, The Compulsive Gamblers, '68 Comeback and The Panther Burns as well as having sold Jack White his trademark cheapo red Airline guitar.
'Don't Throw Your Love Away' features two songs co-written with high school buddy, Jimbo Mathus (ex-Squirrel Nut Zipper and band mate with Jack in his teen days group, Johnny Vomit and the Dry Heaves). This release also features new band personal T. Money on bass and Adam 'the Kid' on organ and saloon piano. The majority of 'Don't Throw Your Love Away' was recorded in the woods of Water Valley, Mississippi by Fat Possum mainman, Bruce Watson and a couple of the tracks were recorded in downtown Clarksdale, Mississippi by Jimbo Mathus. In the tradition of exceptional music coming outta Memphis 'Don't Throw Your Love Away' will satisfy all discerning disciples of The Devil's Rock N' Roll...
Songs include :
Mad Dog 20/20
Dope Sniffin' Dog
A Bullet For Ramona
Ain't Got No Money
Still Got It Bad
Too Hard To Hold
Lookin' For A Love
(postponed indefinately due to
an unsympathetic wally in the UK)
If your musical taste leans towards the guitar-soaked and menacing variety, Katastrophy Wife's new hi-voltage album is for you. All Kneel is rollercoaster rock at its finest, full of heart-stopping moments, dark lyrical alleyways, 100 mph tracks, and banshee screaming.
Given that Katastrophy Wife is riot grrl guru Kat Bjelland's new band, all of this isn't entirely surprising. Kat made her name with the with Babes in Toyland - the female equivalent of Nirvana - in the 90s, and while grunge may be dead, Kat's showing no signs of slowing down. If anything, she's playing louder and faster. Kat Bjelland is a modern icon. A reluctant one, yes, but an icon all the same.
Citing the likes of Yeah Yeah Yeah’s and her old blues records as her current preferred listening, clearly Katastrophy Wife is a band born out of artistic necessity, a love of volume and a desire to fuck shit up! Bjelland may now be a mother but settling down to total normality after twenty years of playing just isn’t an option.
From the moment you press play on All Kneel the cuts-like-a-knife noise of Liberty Belle is enough to split your eardrums. Emit Time is another stomping track, with pounding drums and bone- crushing guitars much in evidence. Best of the bunch, though, are Babydoll and the quirky Ice-Cream and Cigarettes.
Icecream and Cigarettes
Layne to Rest
The Geraldine Fibbers second album was released in July of 1997 as a CD on Virgin Records and as a limited edition double LP on Sympathy.
At the time my distributor was unwilling to sell it because of the major label ties and the vinyl version was thus pretty much doomed. Well, times have changed and this amazing record has been rescued from obscurity.
At the time of the orginal release The Geraldine Fibbers were listed by Spin Magazine as one of the 40 most vital artists. One listen to this album and you will see why. Their actual sound is a strange hybrid between rock, country and punk, and their arrangements are all over the place. They've even got a violin, but most of the time it sounds like the strings are being stressed to their breaking point. Lead singer Carla Bozulich's sometimes croons in almost a country tone, but she can belt out a nasty line with just as much emotion (and does on several occassions). The Geraldine Fibbers, bring their songs to life the way a flamethrower brightens up any social gathering where plenty of flammable frills are clustered together. One listen to the opening track "California Tuffy" and you will be hooked on their sound.
'Butch' is a uninhibited maelstrom of ferocious guitars that lash like electrified hair, bass that booms like an iceberg smacking up the side of the Titanic, spasms of frenetic voodoo drumming and Jessy Greene's violin flaying the skin off any ear that's left unflattened.
Oh, and Carla's voice. Emmylou Harris channeling Diamanda Galas doesn't come halfway to this. As sharp and as powerful as a swung shoulderblade, as pointed as a knitting needle driven through the brain. The raw power of someone who's lived through enough not to give a flying fuck about what anybody else thinks.
Sex permeates this album like riverwater in Ophelia's bridegown, and while there's a wild exhilaration to it, it's never far from violence, meted out by Carla herself or by one of the other stark shadowy characters who ripple through her songs like sharks in a blood-trail.
Roll up the sunroof, mount rocket launchers on the beach-buggy and hit Venice Beach with your anger clenched in your fist. Run down any fucker that gets in your way. It's a sun-ripped jungle out there, full of dangerous fruit. California dreaming will never be the same again.
limited to 500 copies
I Killed the Cuckoo
Trashman in Furs
Swim Back to Me
Seven or in 10
Folks Like Me
Arrow to My Drunken Eye
You Doo Right
The Dwarf Song
super fuckin’ special
over the top real imitation leather bound
'ONLY A COUPLE LEFT' edition
$40.00 in U.S.
$50.00 out of U.S.
The flame that burned brightest...
Seductive, pelvic grooves, blazing Delta slide guitar, and lyrical vision on par with Jim Morrison's made up The Gun Club's explosive compound. The early Gun Club played with passion, commitment, and an ear for tradition that set them apart from the monochord macho of West Coast Hardcore and freeze-dried irony of British New Wave. The founding fathers of the blues provided Gun Club founder Jeffrey Lee Pierce with inspiration, but JLP reached deeper into the darkness of the American collective unconscious than his predecessors dared. Images of desolation and depravity, haunted highways, and deadly women roam through Pierce's lyrics, sung in his plaintive, desperate tenor. JLP's ego and drunken onstage conduct began thinning The Gun Club's ranks after only two albums.
The forces that fueled the artist destroyed the band, and ultimately, the man. Disc 1 opens with five 1981 demos that strike like lightning; the incredibly tight 13-song May, 1982 set is a thrilling, harrowing ride on the edge of an abyss. This show may well have been the original lineup's finest hour, providing definitive performances of most of JLP's best songs. The second disc of oddly poignant demos captures a twentyish Jeffrey Lee Pierce at home, playing mix of blues standards and originals on acoustic guitar and serves as the earliest document of his short-lived genius. -Amazon review
Liner notes by members, Terry Grahm and Ward Dotson as well as many exclusive photos make this the definitive Gun Club artifact. (released in 1996)
2.Preaching the Blues
4.Devil in the Woods
5.Fire of Love
6.Ghost on the Highway [Live]
7.Walkin' With the Beast [Live]
8.I Hear Your Heart Singing [Live]
9.Devil in the Woods [Live]
10.Goodbye Johnny [Live]
11.For the Love of Ivy [Live]
12.Bad Indian [Live]
13.Strange Fruit [Live]
14.Fire Spirit [Live]
15.Carry Home [Live]
16.Preaching the Blues
17.Sex Beat [Live]
18.Jack on Fire [Live]
2.Treat Your Train Right
3.Cool Drink of Water Blues
4.Devil in the Woods
6.Gonna Find My Baby
7.Desire by Blue River
8.Devil and The Nigger
10.I'm on This Rocket
11.Your Man's Feelin' Low
13.Black Jack Davey
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