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.
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.
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.
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.
Minus The Bear: Acoustics 2
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: 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.
Antwon: Dying in the Pussy
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.
Destruction Unit: Two Strong Hits
Newly reborn out of the Ascetic House art collective, Destruction Unit emerges with ?Two Strong Hits," a 7" single that will stick in your head for weeks, more and more echoed until you no longer hear it -- you LIVE it. It is organized, driving chaos, determined to break everything loose and free everybody from their imaginary prisons and phony leaders. In just under eight minutes, Destruction Unit's sonic repetition, feedback experimentation and pummeling drums make for two songs that go off like a machine gun in the trenches of your psyche, all without a note feeling out of place. This 7? is limited to 750 copies as well as being available digitally worldwide.
La Luz: Brainwash
Seattle quartet La Luz immediately brings to mind the girl groups of the ?50s and ?60s. The immaculate four-part harmonies, the luscious layers of reverb, the occasional choreographed dance move, even the band?s penchant for oldies-style artwork?it all conjures images of beehived ladies singing sweetly on grainy black-and-white television. But give the new ?Brainwash b/w T.V. Dream? single a spin and try to pin down a specific reference point from the past. You can?t. The dexterous but economic keyboard lines of Alice Sandhal and the stripped-down groove laid down by the rhythm section of Abbey Blackwell and Marian Li Pino don?t fit in with wall-of-sound icons like The Crystals or The Ronettes. The nimble surf rock twang of guitarist Shana Cleveland is at odds with classic Motown groups like The Marvelettes or The Supremes. Yes, the doo-wop nostalgia is certainly there, but the manufactured glamour and studio sheen is absent. ?Brainwash b/w T.V. Dream? is available worldwide both digitally and as a 7? on translucent yellow/gold vinyl with a download coupon.
YAMANTAKA // SONIC TITAN: YT//ST
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.
Audacity: Finders Keepers
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: Big Talking
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.
The Coathangers / Nü Sensae: Derek's Song b/w Throw
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 Nü 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. Nü Sensae contributes ?Throw? to their side of the split. Rounding out their sound with the recent addition of guitarist Brody McKnight, Nü 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 Nü 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.
Julianna Barwick: Pacing
* 2 beautiful new compositions from vocalist / composer Julianna Barwick - one vocal arrangement, one solo piano.
* Limited edition of 750 (500 black, 250 opaque red vinyl) with free download
* Barwick's first release sinceThe Magic Place which garnered Pitchfork Best New Music, BBC Music Writers top 25 of 2011.
* Barwick's forthcoming album, recorded in Iceland, is a very eagerly anticipated record for 2013. This single will disappear fast!
- * "Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Björk or Yoko Ono." -New York Times
Peace: The World Is Too Much With Us
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.
Gap Dream: Generator b/w A Little Past Midnight
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?.
The Coathangers / Heavy Cream: Merry Go Round b/w Toasted
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.
Nü Sensae: Sundowning
Nü Sensae has taken big risks with even bigger payoffs on this release. Proving just how unpredictable they can be, they abandoned their status as a duo — a favourite angle of both the media and fans — and recruited Vancouver noise rock great Brody McKnight as a full-time member. Previously working with the now-legendary group Mutators, McKnight has added another dimension of heaviness to the band's already mind-melting sludge attack.
They've also embraced diversity in other ways, allowing more loud-quiet dynamics into their songwriting. From the creeping dirge of “Tea Swamp Park” to the vast expanse of “Say What You Are,” the quiet sections offer brief moments of uneasy solace between the full out attack of songs like “100 Shades,” “Tyjna” and “Eat Your Mind.” Elsewhere, subtle but defined melodies surface amidst the fuzz of tracks like “Burnt Masks” and “Dust.” Don't be mistaken, though: Sundowning is designed to bludgeon with the raw aggression that can only come from the best elements of noise, punk and grunge.
Nobunny: La La La La Love You
You can?t really capture the essence of Nobunny on a recording. The stage show for the enigmatic garage punker (birth name Justin Champlin) is a collision of firebrand antics and bubblegum pop, sweat and saccharine, the vile and the endearing. Irresistible hooks and choruses butt up against Nobunny?s flirtations with nudity and violence. Listening to his latest single on Suicide Squeeze, ?La La La La Love You? b/w ?Drei Blondinen?, it?s crucial to envision the lanky frontman clad in a speedo and nappy bunny mask, baiting the audience while pogoing across the stage in time to his ruthlessly upbeat songs. Even if you can?t quite envision that coating of blood and beer on Champlin?s sugary demeanor after an introductory spin of his record, you can?t deny the guy?s ability to write songs that stick in your head for days. This 7? is limited to 750 (250 opaque red, 500 black) copies worldwide.
Wax Idols: Schadenfreude
These new songs are evidence of Wax Idols? carefully calculated evolution of sound, although maybe a carefully calculated, utterly submersive descent into sound might be a more accurate way of describing it. With the aptly named A-side track ?Schadenfreude,? Wax Idols invoke a perfectly executed frenzy of drums, distorted vocals, and compulsive guitar. It?s a song that sinks through the cracks with sinister hooks, a shifty eyed concoction of pitching and reeling reverb. The eponymous ?The Last Drop? similarly swims with eerie layers of guitar over bass over drums, drenched in black eyeliner and sneering. This 7? is limited to 500 (100 green, 400 black) copies worldwide.
The Coathangers / Davila 666: Smother b/w No Crees Que Ya Cansa
Hot on the heels of their critically acclaimed 2011 album Larceny & Old Lace, the rowdy Southern garage rockers The Coathangers plan to release four limited edition split 7?s in 2012, further propelling their reputation for rambunctious rabble-rousing and a relentless work ethic. The first of the splits finds The Coathangers whipping out one of their bawdy bombasts alongside lo-fi party septet Davilla 666. The Puerto Rican group raised more than a few eyebrows recently, receiving accolades from heavyweight press outlets like Pitchfork and the LA Times, and more importantly, winning the approval of contemporary garage icons like The Black Lips and Jay Reatard. Both bands bring scratchy guitars, hip-shakin? beats, and sing-along choruses into the fray, resulting in an essential platter of primal rock n? roll. The split 7? is limited to 750 (250 gold, 500 black vinyl) copies worldwide.
King Tuff: Wild Desire
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. The vinyl version is limited to 750 (250 coke bottle clear, 500 black vinyl) copies worldwide.
White Woods: Where Did You Go
Guitarist/vocalist Julia Kugel established her chops with Atlanta?s The Coathangers, winning audiences over with her deceptively clever hooks and propulsive upbeat energy. But as the band put more notches on their touring and recording belt, it became clear that there was more to their repertoire than jagged guitar lines and infectious charm. Asserting her abilities as a thoughtful and nuanced songwriter, Kugel offers up her debut solo offering under the name White Woods. The project provides the kind of soulful introspective pop The Coathangers hinted at with songs like ?Go Away?, but delivered in a context without the juxtaposition of the band?s barnburner garage rock numbers. The songs showcase Kugel?s beguiling forays into forlorn Americana and smoky, subdued blues. Limited to 500 (100 lavender, 400 black vinyl) worldwide.
Nü Sensae: Tea Swamp Park
This Will Destroy You: Black Dunes (edit) b/w Black Dunes (Holy Other's Woman in the Dunes Mix)
In any relationship, what's not said often lingers: the relative silence of atoms and electrons bonding, or the long distance stare of the lonely. Texan four-piece, This Will Destroy You, understands what lasts, binding their sound to distant starlight as it slips thru the night sky. "Black Dunes" is the second single chosen from the band's stellar album, Tunnel Blanket. Two versions of the song appear here for the first time. One edited by the band themselves, and the other a b-side remix by Holy Other that, like the best of his work, blurs the sourced sound, creating a new language from the previous original. It's an offering - limited to an edition of 500, on Suicide Squeeze Records - and an attempt, the kind that only the best of us make, to communicate with the universe. Comes with a download coupon.
Dirty Beaches: Lone Runner b/w Stye Eye
It's time to announce another installment in Suicide Squeeze's ongoing series of select 7-inch EPs. Dirty Beaches! Yeah, it's an easy leap to guess this would be a proper summer release. But, if you're already familiar with Alex Zhang Hungtai's music, you know it's got a special connection to the end of that season, and the beginning of autumn. And if not, this EP will offer a perfect introduction. The lead track "Lone Runner," is simple perfection: Handclaps lead off a vocal style locked in with both Nick Cave and Elvis, yet totally his own. A song that may drag you by hand to a place you've never been. And then you got "Stye Eye," on the flip: A stomping anthem with an insistent grind that seems to sway and swing, gaining in intensity as the track progresses. This release - like all in SSR's 7-inch series - is limited. 750 copies will be available worldwide (250 clear vinyl, 500 black). Both will come with a download coupon.