Like the Welsh outfit McLusky, British rockers Beachbuggy draw directly from the zany, golden punk of the early Pixies. But while McLusky works more with their forebears' inclination towards revved-up psycho-sexual venom, Beachbuggy goes the tweaked, punk, surf rock direction.
Infamous for just pulling up in a trailer and
playing impromptu shows on the street, Beachbuggy started in the late
90s, initially as a bunch of friends just goofing around and writing
music together. Because two of them wanted to play drums, the band
actually has two drummers -- Danny Sicks and A.D. -- who play exactly
the same beats! In 1998, the group released their home-recorded debut,
Unsafe…At Any Speed! on Sympathy For the Record Industry. With Al B.
Kirkey on bass, the band certainly had their rhythm section in full,
lo-fi bombast, leaving Jack Straker to lead with punchy guitar riffs and
Black Francis-esque vocals.
After being virtually ignored by the British press,
the members of Beachbuggy pooled their money, flew to Chicago and paid
for the recording of their sophomore release with Steve Albini. Sport
Fury, recorded in only six days, was put out by Poptones after the label
saw the group's crazy live show.
Killer-B, again recorded with Albini in Chicago,
with the two drummers sitting side by side, followed in April of 2003.
As Beachbuggy's crowning achievement, the album takes their loose and
wild surf punk and distills it into a catchy, hooky collection.
1. Radio Ad
2. Kill Straker
3. Heavy Hitter
4. General Electric Pilot
5. San Francisco
6. Hey! Jack
7. Firebird Special
9. Four Four O
10. Quarter Mile Machine
11. The Driver
09 December 2018
Artist Biography by Steve Huey
Skullflower is a British noise rock band formed in 1987 who served as the flagship band of the Broken Flag collective, a group of experimental noise rock bands from the U.K. (most notably Ramleh, Total, and Sunroof!) that often swapped ideas and personnel. Led by guitarist Matthew Bower, the prolific Skullflower boasted the largest cult following of the bunch, with a sound based on sludgy, stomping, doom-garage riffs overlaid with hallucinatory feedback, fuzzed-out guitar noise, dark ambience, and monolithic drones derived from power electronics and throttling rhythms, all played at an ungodly volume. Their lyrical subject matter is obsessed with death, violence, misanthropy, and sexual deviancy. Always an improvisational outfit, their textured noise freakouts grew increasingly free-form over the course of their career, moving farther and farther away from even loose definitions of "rock." While recordings such as 1989's Form Destroyer and 1995's Transformer revealed a true post-punk approach to rock, later offerings such as 2008's Taste the Blood of the Deceiver and 2010's Strange Keys to Untune Gods' Firmament revealed an evolving sound that relied more on sonic deconstruction and spontaneous improvisation than formal process.
|1||The Lords Of Increase||2:25|
|2||3/5 Of A Mile In 10 Secs.||3:13|
|3||Cut Loose 1 + 11||14:03|
Artist Biography by Matt CarlsonAbout two hours from Seattle, in the seaside town of Bellingham, WA, the Mono Men pursued their campy retreat to '60s rock revivalism via the Sonics, the Wailers, and loads of teen exploitation flicks, but don't be fooled -- their music is loud, fast, and aggressive.
The Mono Men doubled as indie label gurus, forming and running garage rock asylum Estrus Records; they also host the annual Garage Shock music festival in upstate Washington. Their lineup included Dave Crider on guitar and vocals, Ledge Morrisette on bass, Aaron Roeder on drums, and John Mortensen (ex-Game of Vultures), who replaced original guitarist Marx Wright after 1990's Stop Draggin' Me Down.
|2||Phantom On Lane 12||2:26|
|3||Little Miss 3-B||1:57|
lo-fi garage punk on the Sympathy For The Record Industry label
|1||Drunk Last Night||3:07|
|3||I Wanna Have Some Fun||2:20|
|4||Shakin' Puppy Shake||2:27|
|6||...And I Love Her||2:21|
|7||I Was Sixteen||3:19|
|8||Up Jumped Jackknife||1:51|
|9||Pawn Shop Story||3:03|
|10||He Don't Love||1:42|
|11||Thousand Ton Woman||2:34|
|12||Racy Tracy (Nelson)||2:20|
|13||Big Ol' Maze||2:44|
08 December 2018
Artist Biography by John Bush
A crazed psychobilly quartet which later fragmented into the Workdogs and '68 Comeback, the Gibson Bros. formed in Ohio during the mid-'80s, playing barely competent yet totally energetic bluesy roots rock which later became a staple of indie rock through groups like the Jon Spencer Blues Explosion, Mule, and the Delta 72. Vocalist/guitarists Don Howland (formerly with Great Plains) and Jeff Evans were the most stable members of the group, though third guitarist Dan Dow and drummer Ellen Hoover also appeared on the Gibson Bros.' first three albums, the obscure 1986 cassette-only Build a Raft plus the Homestead releases Big Pine Boogie and Dedicated Fool.
For 1990's Punk Rock Drivin' Song of a Gun, Howland and Evans were billed with Workdogs, a rhythm-section-for-hire including bassist Rob Kennedy and drummer Scott Jarvis. The fifth Gibson Bros. LP, 1991's The Man Who Loved Couch Dancing, alternated home recordings and live shots, the latter with indie heavy weights Jon Spencer and Cristina Martinez in tow. Spencer also appeared on the last record with both Howland and Evans, 1993's Memphis Sol Today!, recorded at Sun Studios. While Evans formed the similarly inspired -- and possibly even more raucous -- '68 Comeback, Howland worked with the Bassholes on albums released in 1992 and 1994.
|3||Li'l Hand, Big Gun||3:00|
|4||Cat Drug In||2:24|
|5||I Feel Good, Little Girl||3:23|
|6||I Had A Dream||2:38|
|8||You Walked In The Room||2:11|
|9||Let's Work Together||1:55|
|10||Down In The Alley||2:07|
|11||I'll Follow Her Blues||3:52|
|12||My Huckleberry Friend||3:13|
Artist Biography by Matt CarlsonLong Beach, CA's Humpers were formed by Scott "Deluxe" Drake and Jeff Fieldhouse, guitarists for the Suicide Kings. Drake gave up the guitar for the group and concentrated on screaming lead vocals. The Humpers were first revered not in the group's native California but, oddly, in Yugoslavia, where its first and extremely rare LP My Machine was released.
Whereas the Suicide Kings' sound borrowed heavily from the 1970s (Heartbreakers, Rolling Stones, New York Dolls, Ramones), the Humpers punked the mix up a bit with a more direct and sonic edge reminiscent of Cleveland groups the Dead Boys and the Pagans.
Bassist Jaybird Blake left the group after recording half of the tracks for 1994's Journey to the Center of Your Wallet, and was more than capably replaced by Mitch Cartwright. Guitarist Jeff Fieldhouse also left the group, leaving sole guitar duties to Billy Burks. After two LPs for indie Sympathy for the Record Industry, the Humpers were signed to Caroline.
Artist Biography by Alexandra ZornThe Screws are perhaps the punkest of all the Mick Collins projects. While retaining the blues/garage/soul/R&B influences he's known for, the Screws have a harsher and more aggressive sound.
Back in 1997, the Red Aunts (then on Epitaph) went to Detroit to record Ghetto Blaster with Mick Collins as their producer. As a lark, the Aunts decided to have Collins record a duet with vocalist/guitarist Terri Wahl, planting the idea for the Screws into their respective heads. Collins and Wahl called upon Dan Brown and Marty Moore, a pre-fab rhythm section, who they knew from their work with '68 Comeback and Royal Trux. The Screws have remained primarily a side project, although they have toured to places as far away as Japan. In the Red released Hate Filled Classics in 1999 and their follow-up, Shake Your Monkey, in 2001.
1. Into The Ground
2. You're Just A Bum
3. Jesse Lee
4. Kill Someone You Hate
7. Can't Get Arrested
8. I Hate Music
9. Collector Scum
10. Zulu Lulu
11. Your Face
12. I Wanna Go Shopping