
Discogs
Tracklist
| 1 | Copsucker | |
| 2 | Smell | |
| 3 | Kill Haole Day | |
| 4 | Slo-Mo Kikaida | |
| 5 | Idaho | |
| 6 | Colin's Heroes | |
| 7 | Collective | |
| 8 | Shrine | |
| 9 | Delaware | |
| 10 | Fur |

| 1 | Copsucker | |
| 2 | Smell | |
| 3 | Kill Haole Day | |
| 4 | Slo-Mo Kikaida | |
| 5 | Idaho | |
| 6 | Colin's Heroes | |
| 7 | Collective | |
| 8 | Shrine | |
| 9 | Delaware | |
| 10 | Fur |


| 1 | Already Yours | 3:56 |
| 2 | Horror Head | 3:41 |
| 3 | Wish You Dead | 3:31 |
| 4 | Doppelgänger | 4:30 |
| 5 | Lillies Dying | 4:24 |
| 6 | Ice That Melts The Tips | 4:31 |
| 7 | Split Into Fractions | 4:33 |
| 8 | Think & Act | 5:15 |
| 9 | Faît Accompli | 4:39 |
| 10 | Sandpit | 3:27 |
| 11 | Clipped | 3:51 |

Wikipedia: Velocity Girl was an American indie rock band formed in 1989 in College Park, Maryland, although it was generally known as a Washington, DC-area band. The band took its name from a Primal Scream B-side. While much 1990s rock music featured an abrasive vocal and instrumental style, Velocity Girl's sound, especially post-1993, was more melodic and typically featured "clean" (non-distorted) electric guitar sounds and two-part harmonies. However, on their first seven-inch records on Slumberland and Merge, as well as their first Sub Pop album, Copacetic, Velocity Girl were noted for their shoegaze influences. The band was noted for its love of releasing a steady stream of 7" vinyl singles. Slumberland Records was formed in 1989 by members of several D.C.-area bands, including Velocity Girl.
Tracklist
| 1 | Pretty Sister | 4:59 | |
| 2 | Crazy Town | 3:47 | |
| 3 | Copacetic | 3:41 | |
| 4 | Here Comes | 4:42 | |
| 5 | Pop Loser | 2:24 | |
| 6 | Living Well | 3:06 | |
| 7 | A Chang | 5:48 | |
| 8 | Audrey's Eyes | 3:02 | |
| 9 | Lisa Librarian | 2:18 | |
| 10 | 57 Waltz | 2:49 | |
| 11 | Candy Apples | 3:07 | |
| 12 | Catching Squirrels | 5:42 |






Pell Mell was a tremendous rarity: an instrumental combo who landed a major-label deal in the wake of the alternative rock explosion touched off by Nirvana. Its most prominent members were better known as producers, and with their highly sporadic recording schedule, it took them nearly a decade of existence to issue a widely distributed album. Their music could be seen on some levels as a forerunner of post-rock, sharing its eclecticism and fusion of acoustics and electronics, but shying away from its more self-conscious avant-gardisms and free-form qualities. Instead, contrary to their name, Pell Mell was melodic and usually tightly structured, much like the instrumentals of the early rock & roll era. In fact, those instrumentals -- especially surf guitar and its formative influences, like Link Wray and Duane Eddy -- were a palpable influence on the group. However, not wanting to be pigeonholed as mere revivalists, they switched up their attack with touches of funk, punk, Krautrock, dub, and vintage ambient, among other sources, which resulted in an atmospheric, effects-laden sound that was certainly aided by its creators' production prowess.
Pell Mell was originally formed in 1980 in Portland, OR, and spent the next four years playing around the Northwest. During that time, several members came and went, with founding drummer Bob Beerman anchoring the band. In 1982, they issued their debut EP, Rhyming Guitars, on the small Indoor label, as well as a self-released, cassette-only live album, It Was a Live Cassette, which they recorded as a trio. Keyboardist/effects man Steve Fisk -- who would eventually become the most successful outside producer in the band -- joined in 1983, and the following year, the band decided to relocate to San Francisco. Their lineup solidified to include Beerman, Fisk, bassist/guitarist Greg Freeman (who left his main gig with the Call in 1984), and guitarist Bill Owen. Owen was, in turn, later replaced by guitarist David Spalding, the onetime guitar tech for the Call. Another cassette-only release, For Years We Stood Clearly as One Thing, appeared on the then-fledgling K Records in 1985. In between, Fisk issued the first of several solo cassettes, a stream of which would continue into the '90s.
Pell Mell came to somewhat wider national attention via their association with the groundbreaking SST label, which issued the first widely available Pell Mell album, The Bumper Crop, in 1988. It consisted of recordings from the first half of the '80s, and while the song selection overlapped with For Years, the versions on Bumper Crop were generally shorter and more concise. By this time, Fisk was working as a producer for groups like Screaming Trees (also on SST), Beat Happening, and Soundgarden; he soon went on to helm several tracks on Nirvana's Blew EP. Freeman was also beginning to branch out as a producer and engineer, initially with Bay Area eccentrics Thinking Fellers Union Local 282 and singer/songwriter Barbara Manning, and later with Royal Trux.
With its members having split to live in different cities, Pell Mell didn't reconvene until the early '90s; by that time, SST had reissued Rhyming Guitars. 1992's Flow was actually the first album on which David Spalding was a fully integrated member of the group, and it was also their tightest effort to date. Microsoft licensed one of its tracks for use in a television commercial, which helped bring the band to the attention of Geffen Records. Signing to the label's DGC imprint, Pell Mell completed its hugely unlikely major-label debut, Interstate, in 1995. In the meantime, Fisk had begun playing with two actively recording side projects, Pigeonhed and the Northwest indie all-star band the Halo Benders (which also featured Beat Happening's Calvin Johnson and Built to Spill's Doug Martsch). He was also producing new artists like Unwound, Some Velvet Sidewalk, the Geraldine Fibbers, and Boss Hog, among others. Writing some of the songs together by mail, Pell Mell completed a follow-up to Interstate in 1997, but DGC -- somewhat predictably -- dropped them not long before its scheduled release date. Matador stepped in to issue the album, called Star City, which was produced and engineered by cult favorite Tchad Blake.
Pell Mell subsequently went their separate ways. Fisk and Freeman both continued their blooming careers behind the boards, while Spalding went on to play with the reunited Love Tractor. Fisk and Beerman later reunited in the more electronic-oriented Cut-Out, which issued its first album in 2003.
| 1 | American Eagle | 2:23 |
| 2 | Breach Of Promise | 3:56 |
| 3 | Bring On The China | 3:22 |
| 4 | The Devil Bush | 2:19 |
| 5 | Smoke | 4:04 |
| 6 | Aero | 3:55 |
| 7 | Flood | 7:02 |
| 8 | Little Blue Dance | 4:12 |
| 9 | Signal | 3:54 |
| 10 | Blaming The Messenger | 1:53 |
| 11 | Mopping Up | 3:34 |
| 1 | Nothing Lies Still Long | 4:11 |
| 2 | Revival | 4:33 |
| 3 | Anna Karina | 3:02 |
| 4 | Saucer | 3:30 |
| 5 | Pound Cake | 3:43 |
| 6 | Constellation | 4:00 |
| 7 | Blacktop | 3:24 |
| 8 | Butterfly Effect | 4:34 |
| 9 | Drift | 4:10 |
| 10 | Vegetable Kingdom | 6:27 |
| 11 | Ether | 4:39 |
| 12 | Floating Gate | 3:03 |
The "chief machinery operator" for German industrial terrorists Einstürzende Neubauten from the band's inception in 1983, F.M. Einheit
has had plenty of time to record side projects between his group's
usually relaxed release schedule (one which also permits bandmate Blixa Bargeld to play with Nick Cave's Bad Seeds). Einheit recorded his first project, 1990's Stein, just after the sessions for Einstürzende Neubauten's Haus der Luege. Then he formed a band -- confusingly named Stein -- with Ulrike Haage and Katharina Franck of the Rainbirds; the project released Steinzeit in 1992 and Königzucker two years later; in the meantime, he released his second proper solo album, Prometheus/Lear, in 1993. With poet Andreas Ammer, Einheit recorded the Radio Inferno LP (which also included the talents of DJ John Peel and guitarist Caspar Brötzmann) and recorded again with Brötzmann on the album Merry Christmas in 1995 and left Neubauten during the sessions for Ende Neu due to a lack of creative interest in the project. Einheit returned in 1997 with Sensation Death for Invisible Records. One of his major projects post-Einstürzende Neubauten was forming the band Gry with vocalist Gry Bagøien from Denmark. They released two albums: The Touch of E! (1998) and Public Recording (2000, featuring Pan Sonic and former Neubauten bandmate Alexander Hacke). Crashing Aeroplanes with Andreas Ammer followed in 2002.
Einheit
began collaborating, writing and scoring various theater and radio
plays over the next four years. He also created his own label, FM 451 to
reissue his catalog works. He returned to recording in 2006, releasing
Echohce in collaboration with Jamie Lidell, David Link, Saskia v. Klitzing and Volker Kamp, followed by The Sallie House with Michael Esposito in 2008 and No Apologies with Hans-Joachim Irmler the following year. Evol/Ve with Massimo Pupillio was issued in 2010. In 2011, Einheit collaboration with Irmler
again. The album, entitled Spielwiese 3 -- a further chapter in the
latter's soundfield explorations -- included German multimedia performer
Ute-Marie Paul and American composer and bassoon player Katherine Young. Over the next two years, Einheit did the occasional experimental live performance with former Einstürzende Neubauten bandmate Hacke, as well scoring for film and theater. In 2013, he cut the electro-acoustic offering Terre Haute with En Esch (formerly of KMFDM) and Mona Mur. Einheit joined forces with experimental Italian guitarist, electro-producer, and sound designer Eraldo Bernocchi and London-based cellist Jo Quail on Rosebud, issued by RareNoise, delivering a compelling mix of ambient and industrial music.
| 1 | Theme From Death Row | 6:49 |
| 2 | Defending Phrase | 8:45 |
| 3 | 6/4 | 4:51 |
| 4 | The Hektik | 1:32 |
| 5 | The Switch | 1:50 |
| 6 | The Race | 5:45 |
| 7 | Requiem Für Eine Totgeweihte | 6:25 |
| 8 | Death Row (Reprise) | 1:09 |
| 9 | Adieu Partner | 2:15 |
| 10 | Kompositionsspiel | 3:05 |
| 11 | Fernsehballett | 8:53 |
| 12 | Death Row (Reprise) | 0:34 |
| 13 | Duell | 4:27 |
| 14 | Russisches Roulett | 2:17 |

| 1 | Incision | |
| 2 | Sell My Revolution | |
| 3 | Goosebumps | |
| 4 | Reclaim | |
| 5 | Exit | |
| 6 | Tightrope | |
| 7 | Lather | |
| 8 | The Man Who Fell To Earth | |
| 9 | Seven Thumbs Thick |

| 1 | I'll Stay High | 3:18 |
| 2 | Groundhead | 3:45 |
| 3 | We Don't Care | 3:18 |
| 4 | Mothership | 4:37 |

Wikipedia:
Sun-60 (later Sun 60 without the hyphen) were a Los Angeles Alternative rock band from 1987-1996.
The band was notable for the vocal gymnastics of Joan Jones, the guitar riffs of David Russo, clever song-writing, and an eclectic combination of styles, including folk, alt rock, pop, and blues.
Despite a cult following, considerable commercial potential, and moderate success both as a touring live act and on record, the band never quite caught on, and split in 1996.
| 1 | Out Of My Head | 3:25 |
| 2 | Middle Of My Life | 3:27 |
| 3 | Kiss The Train | 4:52 |
| 4 | Cold Water | 4:04 |
| 5 | Landslide | 4:39 |
| 6 | Many Miles | 3:01 |
| 7 | Runaway Jane | 3:07 |
| 8 | Should Have Been The Moon | 3:38 |
| 9 | Too Much Tube | 3:11 |
| 10 | Responsible | 3:45 |
| 11 | Take Me Home | 5:04 |
| 1 | The Garden | 4:37 |
| 2 | Jackie | 5:11 |
| 3 | Sunny April Afternoon | 3:59 |
| 4 | Lost Command | 5:09 |
| 5 | Get It While You Can | 4:29 |
| 6 | Bang The Drum | 4:00 |
| 7 | Some Days Never End | 3:27 |
| 8 | New Dawn | 5:14 |
| 9 | Fly Away | 5:39 |
| 10 | Let Me Ride | 3:47 |
| 11 | The Cows Come Home | 4:23 |
| 12 | Carry On | 3:58 |
| 12.1 | (Untitled Interlude) | 0:33 |
| 13.1 | (Untitled) | 3:58 |
| 13.2 | (Silence) | 0:04 |
| 1 | Hard On Me | 4:35 |
| 2 | Sex Will Keep Us Together | 3:56 |
| 3 | I'm Jealous | 4:16 |
| 4 | For A Good Time | 5:07 |
| 5 | Open Windows | 4:51 |
| 6 | Bleed | 0:53 |
| 7 | Underworld | 3:53 |
| 8 | Human On The Inside | 4:13 |
| 9 | Come Down To Earth | 4:39 |
| 10 | Spook | 0:42 |
| 11 | Sorry | 4:52 |
| 12 | Heart Of Steel | 4:45 |
| 13 | Save Me | 5:37 |
| 14 | Black Magic | 5:38 |