June 15, 2013
I had totally neglected posting this… I believe it surfaced a couple of years ago but I wasn’t aware of its existence until last year. Aside from maybe ‘Yank Crime’ demos (do such things exist??) this is the perfect thing to post here. From what I can gather this DRIVE LIKE JEHU demo is from 1990 & it contains 4 songs which would be recorded again (virtually unchanged) for their first album the following year. The formation of Jehu and the demise of Pitchfork seems to be in parallel. In Jehu, Rick Froberg also plays guitar alongside John Reis with the addition of a new rhythm section. The image is a magazine ad for the first album I had saved on my computer, click for DL
April 5, 2013
This page recently hit 100,000 views which is cool, it’s only taken 5 years heh. Having a stable music resource was always the main aim. The reliability of hosting sites for file sharing has changed dramatically over this time. Online music and the way it is distributed has seen a massive shift. I think it is silly to maybe pay now for hosting to share other people’s music that I don’t own. My intention was to help circulate things that were hard to find or out of print, not to give free shares to a band’s latest release. It is possible for a group to be completely independent on all levels now from conception to end result via selling on a site such as Bandcamp. I’d like to give a short list here of stuff I’ve been made aware of through this excellent facility for independent bands:
PORCH are a band from the distant past (try 20 years since a 7″ on Alternative Tentacles!) who have regrouped over recent years & have a new full length entitled ‘Walking Boss’ recorded by Tim Green. Members of this SF band have spent time in lineups of both Primus and TITD but Porch sounds like neither. Soundbite: Imagine delicate Codeine passages leading way to rumbling Karp/Unsane style pummel touched with some Melvins creativity. Recommended
Optional Body feature the former Year Future pairing of Rockey Crane and Sonny Kay. No huge suprises here and it feels like a return to the taut post punk of early Year Future. I loved that band and think it is great to hear these tracks getting an airing. What is not to like about a band featuring the guy who sang in Angel Hair & the guitarist from Dead and Gone??
Two Inch Astronaut are a relatively new band from Baltimore and they have just digitally released a single from their forthcoming album ‘Bad Brother’. Their songs take all manner of twists & turns in a similar way to that of Shudder to Think’s PXR, match this with a late 90s DC vibe and some Chavez/Shiner. An original take on this sound, in fact I’d say that if these guys were from DC it would be hard to imagine this not being released on Dischord.
Ultrasphinx are another new band featuring veteran dudes, you may recognize singer/guitarist Joe Dennis from Party of Helicopters. It’s no secret I fucking love PoH & it’s great to hear his voice again. The music is more hypnotic and rocking, sorta mathy stoner shit? I really like it
Tilts are a band featuring Andrew Elstner on vocals/guitar who you may recognize from the awesome Riddle of Steel. He is now the second guitarist in Torche which I think is the perfect choice for that band. Tilts are an absolute powerhouse of a band, unbridled rock power with power pop hooks. The songwriting is first class and nods to classic rock are all over it… Zeppelin, Sabbath, The Who, ZZ Top, Van Halen, Rolling Stones but Tilts substitute any pomposity with a subtle humor. I was lucky enough to get a physical copy, incredible band.
Holly Hunt is 2 piece featuring Beatriz Monteavaro (Floor, Cavity) on drums & guitarist Gavin Perry. An instrumental band whose main focus is riff upon riff of sludgey stoner metal. This style if done well (ie: here) is very hypnotic and avoids becoming boring I think
‘Live to Crush’ will be the last album from Seattle’s Akimbo since they have now broken up. I came pretty late to this band via their ‘Jersey Shores’ record. It’s big Karp, Young Widows, AmRep tinged noisy rock which suits me just fine at this point. This track rules…
Town Portal are a Danish instrumental band whose sound has definite elements of bands like Pitchblende, Don Cab, Meshuggah or Dysrhythmia. It is known fact that I will never be sick of this style.
Porcupine are well known on this blog and therefore need no introduction. New track from a forthcoming spit 7″ with A*STAR, great…
Godstopper I know of via a friend who is releasing the vinyl of this record. Band names that are dropped would be Harvey Milk, Torche & Mare. Good names to drop if you know what is what in original heavy music. This is the perfect opportunity to say support independent music and if you like any of these bands buy stuff. It’s a guarantee that the bands will actually see some financial compensation for their time and energy.
Magnet School had an absolutely incredible album a few years ago. They just digitally released this single as a prelude to a new album. Fans of Hum/Shiner/Swervedriver need to check these guys out, really great stuff from Austin, TX.
Last addition is the band Worms from Amherst, Massachusetts. Their rock is noisy and bass heavy like GodHeadSilo or Karp. I detect some definite Ohio influence via bands such as Party of Helicopters or even Harriet the Spy. Give their tunes a spin if you’re into this kind of vibe.
December 30, 2012
It’s been a pretty great year for music in 2012, lots of excellent stuff came out. In fact it was probably the best for years judging by the quality of some independent records these days. Below is just a brief overview of things that caught my attention.
For me the first two standouts were SKELETON KEY’s ‘Gravity is the Enemy’ and ‘Robots Fucking’ by RETISONIC. Both really well crafted & original sounding albums from bro’s now in their 40′s who are arguably making their best music. Either band could give the most jaded listener a reason to hear that innovation in rock is not dead. Later in the year the same label (Arctic Rodeo) issued the two BURNING AIRLINES records on vinyl for the first time. The additional bonus covers were a welcomed move indeed. In keeping with another DeSoto band who never had their masterstroke on vinyl until now is SHINER with‘The Egg’. Also remastered and still sounding just as great after 20 years are the repackaged SUGAR ‘Copper Blue + Beaster’ albums. It is nice to see these records have weathered well and continue to get a rebirth.
On the noisier side of rock we have UNSANE ‘Wreck’ and bassist Dave Curran’s new band PIGS ‘You Ruin Everything’ album. The same label (Solar Flare) did a recent vinyl issue of last years album by AMERICAN HERITAGE ‘Sedentary’. Possibly the best kept secret was a repress of the SHORTY ‘Thumb Days’ full length from 1993. Armin isn’t lying when he says it is ‘one of the BEST Noise Rock albums EVER!’. I’ve no real idea who are the popular bands in hardcore these days but the new BAADER BRAINS record and JOHN HENRY WEST reissue certainly beat the hell out any passing fad. It was also perfect to see MOSS ICON finally get a well deserved retrospective this year, easily one of the original ‘emo’ bands most shrouded in mystery. One issue I have with the package though is a definitive written discography timeline. A band that when mentioned seems to be quite devisive is TRAGEDY, I realised they’d passed me by since ‘Vengeance’ nearly ten years ago now! Still releasing records through their own Tragedy records, ‘Darker Days Ahead’ has a gloomier, doom laden sound than previous. The songwriting is first class and the mid paced tempos allow tracks much more room to breathe. A hardcore ‘supergroup’ of sorts OLD MAN GLOOM come off from years of hiatus with ‘NO’ this year which I also found very enjoyable.
Dischord have been making lots of their back catalogue available again since they split with Southern a few years back. There are so many good records that went out of print it’s awesome to see them back remastered and expanded upon. They’ve slowly been repressing the Lungfish discography but this year we got something new in the form of LUNGFISH ‘A.C.R. 1999′. These tracks are studio demos of songs that would next appear on ‘Necrophones’. They also released the RITES OF SPRING 6 song demo on 10″, and something new in the form of a 7″ by ALARMS AND CONTROLS (members of Crownhate Ruin, Circus Lupus). Always good to know everything is always at a consistently high standard with this label.
Anyone missing Shiner, Chavez, Swervedriver take a heads up and check out the second album by PORCUPINE ‘The sensation of being somebody’. After the death of inhuman powerhouse drummer Jerry Fuchs the band TURING MACHINE finally released their swansong, while BARONESS had a narrow escape with disaster shortly after releasing their ‘Yellow & Green’ epic. On the subject of mortality the ALARIC/ATRIARCH split on 20 Buck Spin redefines ‘deathrock’ for the post 00′s with it’s invigorated twisting and turning. On a lighter note TORCHE filled out to a 4 piece again with second guitarist Andrew Elstner (former Riddle of Steel frontman). The resulting ‘Harmonicraft’ is a collection of very finely tuned heavy blasts with massive pop hooks.
I always look forward to any new RUSH album and ‘Clockwork Angels’ is a beast created by a group who can still run rings around guys half their age. Same can be said for the bands who’ve been treading their path for 20+ years such as MESHUGGAH with 7th album ‘Koloss’ and VOIVOD with the ‘Live at Roadburn 2011′ which fills a gap until ‘Target Earth’ hits early 2013. There were three significant boundary pushing progressive metal releases in 2012: the first recording with Weasel Walter on drums by BEHOLD… THE ARCTOPUS and their ‘Horrorscension’, Colin Marston also showing up again on ‘Test of Submission’ by DYSRHYTHMIA (and Krallice) + finally the resurfacing of LOINCLOTH to deliver their first full length via ‘Iron balls of steel’. This more technical, mind bending approach to riffs could be seen in the ‘black metal’ groups DODECAHEDRON and DEATHSPELL OMEGA’s ‘Drought’.
The last few bits and pieces that came to my attention late in the month were James Plotkin’s JODIS project, Danish instrumental band TOWN PORTAL & HOLLY HUNT featuring an ex FLOOR drummer getting back down to business. Not heard it yet but there was the live UNWOUND record too… Here’s to 2013 bringing us even more of the same!
December 4, 2012
A first for this blog via the form of an interview. I first came into contact with Casey when he emailed me regarding this aMinature post. It’s seldom to hear new bands I really like but I was impressed by his band PORCUPINE & their first album ‘The trouble with you’. They basically mix together lots of elements I appreciate and throw them back out in a big rock juggernaut. The Midwest always seems to produce original guitar music and has done for decades. If, like me, you can’t get enough Shiner, Swervedriver, QOTSA, Chavez and their ilk then you will not be disappointed by this band. It’s not like you’re ever going to see PORCUPINE getting repped on Pitchfork or hyped by some hip music forum but bands like this deserve their dues. I sent guitar/vocalist Casey Virock a few quick questions…
1- What does doing this band means to you and why you still want to create music?
It’s really about having a vehicle to be creative. I personally have always liked writing songs. And being in this band is great in that I can play loud, raucous guitar with a lot of feedback and yet still have the melodies come through. I like sitting with an acoustic as well but there is something about the guitar, bass, and drums all going full on that is therapeutic…haha!
2- ‘There are approximately seven million indie bands operating on planet Earth as of yesterday…..we are one of them’. What would you say makes Porcupine unique in comparison to the average indie band?
If we are different or unique it may because some of our influences come from 70′s classic rock and 60′s British psychedelic music. Some examples would be Led Zeppelin, Pink Floyd, Syd Barrett and T-Rex. We are inspired by them and we try to use those influences, but still create a sound that is truly our own.
3- What initially led you down this musical path to the point you’re at now? what was your first exposure to music and how did this develop into wanting to create it?
I think the point where I thought about writing my own music came about after seeing Love and Rockets w/ the Pixies in 1989. That show was incredible and really inspired me to want to create. I formed different bands and played around town which was then a bit funny because “hair metal” was popular in the area. After Nirvana came out it in 1991, it became a bit easier to get gigs booked doing our own material.
Dave and I played together in a group called SpaceBike which formed in 1994 and broke up in “99?”..after which we didn’t see each other for about 4-5 yrs. This group basically became Porcupine (named after my favorite Echo and the Bunnymen record) after trying out about 4 different bass players and then finally tricking Dave to come and record some “demos” …wink wink.
4- The new album was essentially recorded and released (digitally/CD) entirely independently on all levels. Within the current musical landscape how do you view this process as opposed to the distribution of music during the 90s?
I think we find it liberating to be able to put out records without the label b.s. We are able to record and distribute our music on our own. The internet has changed the game for sure. There was a time in a past band when we were concerned with our music being something a label might like and “sign us” …etc. At this point we are pretty cynical about the music industry…and it’s really just about making music we enjoy playing. If it’s something people like and want to buy, that’s great also.
5- What is your process for writing the material in Porcupine?
Most of the time I will come in with a chord progression and a melody, play it for the guys and see if it’s something that they like. They haven’t shot me down yet…but we also know as a group if something isn’t going to work pretty quickly. In that situation we just record it as an idea for some later release. An example on the last record was a song called “Floppish” which we all liked but felt it wasn’t ready to be recorded yet.
6- The lyrics are not printed on any of your releases, what is the subject matter/nature of your words?
I think most of the lyrics for Porcupine material comes from personal experience; relationship situations and stories filtered through this and that. I have never been a fan of literal, story telling kind of song writing. I like sarcasm and I prefer lyrics that are somewhat abstract. I want the lyrics to mean different things to different people. They are somewhat open to interpretation. I do feel that the lyrics and tone of the music have to have a relationship or it doesn’t work.
7- Your music sounds essentially like it could only come from America yet I sense a definite ‘British’ feel to it. In what areas would you say that you draw from UK bands?
We are all fans of The Beatles, The Who, Bowie and I still love the 90′s wave of British bands like Swervedriver, Teenage FanClub and My Bloody Valentine. Those bands to me always had a more artistic way about them. The album artwork, the song craft, the guitar sounds..etc. It’s just my opinion but I feel they seemed to push their music a bit more outside the box. I think the way that I sing, perhaps some of the inflections that I use, would maybe give the listener a sense of the British influence? The American slant for us would be Husker Du, The Pixies, Meat Puppets and Queens of the Stone Age.
8- The type of groups you often play with (Meat Puppets, Mission of Burma etc.) are not young bands, how do you balance the increased responsibility (family/work) against Porcupine?
We have been fortunate with Porcupine to play with bands that were musical heroes to us growing up i.e. Meat Puppets, 18th Dye, Mission of Burma. All of us now have families and so our priorities have changed for sure. We try to keep busy and productive with Porcupine. Whether it’s gigs or making records, we keep in mind that we need to re-charge the batteries a little more than we used to…a.k.a. sleep. And our families are our first priority so we recognize how important it is to make time for them. We don’t play out as much as we would have 15 years ago. We play maybe 2-3 times a month and so it seems to be a fairly good balance of work/family/band time.
9- Porcupine sounds very focused and direct, do you think this type of directness can only come from age/experience?
I think that my only answer for that would be just doing what we do without too much concern with what people think. That may come from being in our 40′s now and having played for awhile. And also just about having a better sense of the way things work in this business. We are confident about how we operate and we have found a method that works well for us. Dave and I being in SpaceBike before and having some success, have some common ground to draw on in regards to recording, album art, shirt design, etc. So yes, I would say that some of the focus definitely comes from being older and just knowing what it is that we want to accomplish.
10- You’d mentioned Adam Franklin borrowed your Jazzmaster for the last SWD reunion shows. What was in the ‘thank you’ package that he sent you?
Adam sent me a Swervedriver Mezcal head T-shirt, two vinyl 7″ inch records of his Bolts of Melody material and a Swervedriver DVD of a performance that was live in Australia. He is an amazingly talented songwriter and I wish Swervedriver would make another record. That would make me very happy.
Adam Franklin, Casey & Jimmy Hartridge
July 27, 2012
I’ve been digging through old audio folders lately to see what stuff turned up. I had to check the file index of when I got ahold of these demo tracks and it was February 2005. From what I can work out these 3 tracks are the openers from their first album with the first pass at a ‘mix’… I recall hearing rumblings of an ‘ex Floor’ band in maybe Summer 2004? Anyway this is the original TORCHE lineup with Juan Montoya on second guitar. Their sound is unmistakable from the get-go, Steve Brooks’ vocals set them apart from all the shouting and screaming that is the norm for ‘heavy’ music.