Cerca:suicide

Erstmals ist Suicide Commando’s berüchtigtes Album “Critical Stage” nun auch auf Vinyl erhältlich!

Erlebe den rohen, bahnbrechenden Industrial Sound, mit dem alles begonnen hat, noch einmal ganz neu: Jetzt mit der Tiefe und Wärme, die nur Vinyl erzeugen kann. Diese Limited Edition gehört in die Sammlung eines jeden Suicide Commando Fans. Also, nicht warten, sichere Dir jetzt Deine “Critical Stage” Vinyl und damit Dein eigenes Stück EBM-Geschichte!

Like so many bands that cut their teeth playing basements, rental halls, and teen centers around the Puget Sound in the early '90s, the Olympia trio Lync may have had similar roots to the local rock heroes of the era but were conscientiously averse to the trappings of mainstream success. Lync kept the grit, the shouted vocals, and the rough-hewn choruses, but eschewed the machismo and metal swagger. Their song 'Cue Cards' is a perfect encapsulation of their overall approach-heartfelt melodies, bashed drums, hoarse throats, gritty bass lines, and fractured guitars. Lync's legacy was interwoven with fellow PNW artists like Modest Mouse, 764-Hero, and Red Stars Theory-bands that were crucial to the foundation of Suicide Squeeze Records. It only made sense for Suicide Squeeze to reissue Lync's lone LP, These Are Not Fall Colors back in 2023. And in conjunction with the reissue, Suicide Squeeze is proud to announce the second single featuring a choice cut from Fall Colors paired with a current artist's reinterpretation of the song. On their latest 7", Lync's original version of 'Cue Cards' is paired with a cover by Julia & The Squeezettes-a Suicide Squeeze-centric all-star line-up featuring Julia Kugel of The Coathangers and Julia, Julia, Staz Lindes of The Paranoyds, Bonnie Bloomgarden and Rikki Styxx of Death Valley Girls. On their rendition, Julia & The Squeezettes excise the half-time distorted bombast of the original in favor of up-tempo minimalist pop. Guitars are reduced to a few choice phrases, putting the song's luring vocals and lyrical charms at the forefront. Paired with the tasteful yet propulsive rhythm section, this new approach to 'Cue Cards' demonstrates the timeless songwriting of Lync while simultaneously showcasing the creative vision, timbral aptitude, and resourceful production savvy of four contemporary artists in the ongoing lineage of American indie rock. Suicide Squeeze is proud to release these two versions of 'Cue Cards' to the world on a pressing of 500 Ocean Blue-colored vinyl 7" singles.

Seattle's Chastity Belt and Austin's Holy Wave split a dreamy 7-inch for Suicide Squeeze Records. Chastity Belt's offering, "That Guy," rings with the band's signature laid-back-yet-precise style. Jangly, intricate guitarwork plays off easy rhythms; an upbeat tranquility buoys wistful riffs. The lyrics are honest and introspective as Julia Shapiro admits to being "that kind of guy"_the type who just wants to feel alive, despite the pull of screentime, and the tendency to hold onto something until the life has been sucked out of it. "Maybe quitting is okay, but I don't like giving things away," she sings, backed by warm vocal harmonies. "I'd rather hold on for too long, until all the feeling's gone." For their side, Holy Wave contribute the lush and hypnotic slow burner "Time Crisis Too." Smears of warped synth over meticulous percussion and guitar form a dense tapestry of sound; melodic vibraphone perfects the cinematic nostalgia while the lyrics lament the too-hurried passage of time. Microdoses of experimentation tucked into the layers_seaside waves, swells of distortion, a disembodied second vocal_add intrigue and enhance the vibe.

Mach Dich bereit, Suicide Commando’s “Construct x Destruct” zu erleben wie nie zuvor! Zum ersten Mal erscheint diese kultige Platte von 1998 auf Vinyl, jetzt außerdem mit vier zusätzlichen Bonustracks. Entdecke jeden dunklen, stampfenden Beat von Johan Van Roys rohem, industriellem EBM-Sound neu und sichere Dir mit dieser limitierten Vinyl-Edition von „Construct x Destruct“ ein Stück Geschichte der elektronischen Musik.

+ REPRESS OF THE LONG OUT OF PRINT DEBUT ALBUM BY THE COATHANGERS + LIMITED EDITION FOURTH LP PRESSING ON NEON BUTTERFLY VINYL + REMASTERED WITH TWO BONUS TRACKS + EXPANDED ARTWORK BY BRADFORD COX (DEERHUNTER, ATLAS SOUND) + HOUSED IN A GATEFOLD JACKET + DL COUPON // Eighteen years ago, four young Atlanta women picked up instruments without any prior musical experience or lofty aspirations and decided that they were going to start a band so that they could play a friend's party. The house-show begat more shows around town, and the feisty and fiery live sets begat an album. Recorded during a single graveyard shift at a local studio and mixed the following night, the self-titled debut album by The Coathangers was a raw, rowdy, and revelrous affair. What it lacked in polish it made up for in its undeniable energy and charisma. "We didn't think anyone was going to listen to it," says vocalist/guitarist Julia Kugel. "We knew our friends in Atlanta would get it, but we didn't think it was going to go anywhere. We were just excited to make a record." Little did Kugel or her bandmates_vocalist/drummer Stephanie Luke, bassist/vocalist Meredith Franco, and keyboardist Candice Jones_know that their scrappy house show-anthems would catch on, prompting years of international tours, a slew of excellent LPs and singles, and, eventually, a deluxe version of their boisterous debut, The Coathangers. The eponymous debut album by The Coathangers is a whirlwind ride of a band at the most frenzied, celebratory, and free moment of their existence. As a standalone record, it's a brash and bawdy rocker sure to please anyone who likes their rock n' roll sweaty and messy. As a piece in the band's legacy, it's an exhilarating reminder of the band's youthful care-free beginnings. The deluxe remastered version of The Coathangers includes the bonus tracks "Wife Eyes" from the Hard Candy EP and the title track from the Never Wanted You EP. The Coathangers on vinyl features expanded artwork by Bradford Cox (Deerhunter, Atlas Sound) in a gatefold jacket.

Pedro The Lion Covers “B” By Lync. Lync “B” Original Version On The Flip Side. One-Time Retail Pressing Limited To 450 Copies. Pressed On Opaque Purple Vinyl, Includes Download Coupon. The early ‘90s Olympia trio Lync harnessed the same raw energy and passionate discord of the era’s San Diego and DC chapters of post-hardcore while building their songs on the foundation of the Pacific Northwest indie rock scene’s clever hooks and sophisticated melodies. In celebration of the recent reissue of Lync’s sole LP, These Are Not Fall Colors, singer-songwriter David Bazan has re-envisioned the album opener “B” under his Pedro the Lion moniker, stripping away the celebratory distortion and riotous clamor of the original for a hushed acoustic rendition in line with Bazan’s most austere slow-core moments. Paired together as a 7” single on Suicide Squeeze Records, these two versions of “B” highlight the multifaceted power of the original song, with Pedro the Lion’s version elevating its fundamental melodic weight, idiosyncratic chord structure, and poetic power, and the original Lync version reminding us how their distinctive brand of expressive dissonance and adrenalized execution transformed their cerebral pop songs into jagged masterpieces of the post-Nevermind punk underground

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

Clear Vinyl. Like the soundtrack to a heartbreaking film that never existed, the songs on Casually Smashed To Pieces are simultaneously beautiful and completely unpredictable. "Knock At My Door" features gorgeous, interwoven melodic playing, layered arrangements and a twangy undercurrent; "Confusing Possibilities" is full of the band's characteristic dueling guitar lines, shifting dynamics, and sub-bass tones that help transport the band's music into uncharted territory; while "Stolen Moments" showcases singing horns and crescendos so gradual you'll wonder how you got from point A to point B. Let's be honest though, instead of mapping out each track for you, you're probably best off listening to it yourself... Like all great music, there's an undeniable amount of mystery in what the Six Parts Seven accomplish that can't be conveyed via adjective or analogy.

Founded in 2001, Minus the Bear have worked relentlessly over the past 12 years to build a large and devoted following worldwide via consistent releases and non-stop touring. The band has released five full length LPs (Highly Refined Pirates in 2002, Menos el Oso in 2005, Planet of Ice in 2007, OMNI in 2010, Infinity Overhead in 2012) along with various EPs. They have toured throughout the US, UK, Europe, Mexico, and Canada. They have played countless sold out venues throughout the world and have been invited to perform at festivals in the US and abroad. They have played as support to bands such as Foo Fighters, Soundgarden and Jimmy Eat World. 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 II, 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 II is sure to please longtime fans and welcome new fans to this critically acclaimed rock band.

Drei Jahre nach dem fesselnden Long Player Debüt ,Highly Refined Pirates" stellte die hochgradig stylische Seattler Indie Pop Band MINUS THE BEAR ihren mit beachtlichen Störimpulsen durchsetzten Prog Pop auf ihrem zweiten selbstmörderischem Album ,Menos El Oso" zur Schau. Die Jungs legten hierfür selbst ihre Hände an die Regler und übernahmen die Aufnahmen und Produktion gleich mit. Pendelnd zwischen verschiedensten Stilen, welche von '70s Prog Rockern (YES, RUSH) '80s Prototypen Punks (FUGAZI) bis hin zu '90s Art Rock Mind Fucks wie JAWBOX und JOAN OF ARC reichen, berufen sich MINUS THE BEAR auf eine moderne Liebesaffäre zwischen treibenden Tanz Rhythmen und höchst abgefahrenem Collegerock. Abgemischt wurde das Ganze vom Bandmitglied und angesehenen Studio Freak Matt Bayles (u.a.THE BLOOD BROTHERS, MASTODON, ISIS, PRETTY GIRLS MAKE GRAVES). Auf dem Album finden sich so illustre Gäste wie Judah Nagler & Josh Staples (THE VELVET TEEN), Michael Richardson (THE NEW TRUST) und HEATHER DUBY.

Suicide Squeeze is thrilled to deliver a reissue of Interloper, the 2020 album from Holy Wave. Interloper sees Holy Wave adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on its most esoteric and thought-provoking themes. "I'm Not Living in the Past Anymore" is a mantra about breaking the cycle of the mundane, and "Escapism" is a dream-like meditation. "Interloper" serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward to blissed-out moments on album opener "Schmetterling," the saccharine haze of "R&B," and the freak-out catharsis of live favorite "Buddhist Pete." With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Elliott Smith's "Division Day" is not only one of the late artist's most beloved fan favorite songs, it's also one of Smith's first departures away from the soft-spoken melancholy of his first two albums and into the more sophisticated pop that led to his breakout success. B-side "No Name #6" is a classic in its own right, encapsulating the humble brilliance of one of our generation's greatest singer-songwriters. "Division Day" b/w "No Name #6" is now back in print with its first pressing on colored vinyl. Limited to 1000 copies on clear vinyl, this 7" single is a crucial document of Elliott Smith's musical evolution, and a vital piece of Suicide Squeeze history.

"Pretty (Ugly Before)" b/w "A Distorted Reality Is Now A Necessity To Be Free" holds the distinction of being the last recording by Elliott Smith to be released while he was still alive. Originally released as a single in August 2003, the songs were a part of the recording sessions that would ultimately yield the acclaimed posthumous album From A Basement On The Hill. The two songs serve as a powerful reminder of why Smith became the voice for a dejected generation. This repress is limited to 500 copies on tri-color vinyl - mustard, baby blue, and coke bottle green.

Citrus Swirl Vinyl. honeybee table at the butterfly feast is the first album from the elusive Baltimore's band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting. honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song "haunt me (x3)", a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band's two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016's ambitious double album it's the big joyous celebration, let's stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray's mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.

Blue Smoke Vinyl. To celebrate Minus the Bear's 10th anniversary, Suicide Squeeze will issue the band's earliest recordings on vinyl. "Highly Rened Pirates," is Minus the Bear's rst proper album. Originally released in 2002, this edition is being remastered from the original tapes, for vinyl, by the legendary Bernie Grundman, the Hollywood-based legend behind many of the industry's landmark recordings. The initial pressing will be limited to 2000 copies: 1000 black (180gram), and 1000 `translucent' blue vinyl; each copy comes with a download coupon. A real chance to hear where this sound started...

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

Paranoid Cocoon is an album full of quiet, wooden psychedelia reflecting Cotton Jones' casual pursuit of comfort and freedom. Under the mountains of Cumberland, Maryland, where creeks zigzag in the lonesome dark of the forest and a red moon hangs overhead, these songs were born of leaving, of dreams both good and bad, sung from surroundings the band has known their whole lives. Paranoid Cocoon is simple, understated perfection: they sound timeless from singing together forever.

Tunnel Blanket delivers the epic-in-scope soundscapes that followers of its makers' previous recordings are accustomed to, but presents them in new lights - where once the sun shone down bright upon immediate tropes and traits, now their work is better suited to distant starlight, casting changeable shadows across vistas of inspired, ambitious amplification. This is not an album to pick through in search of bold hooks and instant melodies. It is an ever-shifting, always moving work, which seems to evolve before the listener - spidery guitar lines feeling their way forth like vines scrambling up trunks in time-lapse photography.

For as long as they've been a band, teen suicide's catalog has been as alluring as it has been elusive. Now the first time, two of the band's most sought after early EPs, dc snuff film and waste yrself, will be available together across all formats via Run For Cover Records this winter. These 18 tracks have been remastered to provide the best sound quality possible while still retaining the noisy, lo-fi sound that is an integral part of the teen suicide's essence. This collection will feature brand new artwork, including never-before seen photos & a lyric sheet for both EPs in one volume.

Belgian Johan van Roy has had one of the longest careers in electro-industrial music, rising from humble beginnings in the '80s EBM scene to become a figurehead of the genre.
Suicide Commando's music is characterised van Roy's nasty, ultra-nihilistic worldview and his unflinching exploration of the dark side of human nature, combined with the intense, dancefloor-focused sounds in which it was packaged.
Now, exactly 20 years after its original release in 2003, Suicide Commando’s legendary Axis of Evil album is re-released with lots of brand new goodies.

decade-plus together, the four-piece - Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals) - have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album. Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love . Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all. Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally." "Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "1-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh." "We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness...we can kinda surprise each other, like a good punchline would."

"Das größte Problem, das die Kunst heutzutage hat, ist, dass sie nicht mehr weh tut", sagt GHØSTKID-Sänger und Provokateur Sebastian "Sushi" Biesler. "Vor allem hier in Deutschland haben die Leute so viel Angst davor, Grenzen zu überschreiten. Kunst zu machen, die zum Nachdenken und Fühlen anregt." So ist es nicht verwunderlich, dass Sushi und Co. mit dem zweiten Album von GHØSTKID, HOLLYWOOD SUICIDE, die Grenzen ihres Heimatlandes verlassen haben, um ihren energiegeladenen, hakenreichen Nu-Metalcore weiterzuentwickeln. Das Ergebnis ist ebenso aufrichtig wie musikalisch ambitioniert und klanglich makellos. GHØSTKID liefern Goth-Nu-Rock-Core, der die ohnehin schon hohe Messlatte, die GHØSTKID 2020 mit ihrem selbstbetitelten, von Pandemie überschatteten Century Media-Debüt gelegt haben, noch höher legen wird. Von den Trap-Metal-inspirierten Beats und dem erdrückenden Metalcore-Riffing, das den Titeltrack des Albums eröffnet, bis hin zu den beunruhigenden Melodien des elegischen Schlussstücks "Helena Drive" ist "HOLLYWOOD SUICIDE" ein perfekter Schnappschuss eines Künstlers, der aus seinen eigenen persönlichen Trümmern vor einem zerfallenden, mythischen kalifornischen Milieu kriecht. "HOLLYWOOD SUICIDE" ist erhältlich als: transparent-rote 180g LP

When the grunge explosion of the early `90s elevated Seattle's flannel-clad misfits out of the divey clubs of downtown and into the mainstream, a new generation of restless artists filled the void left in the Pacific Northwest's underground music scene. The under-21 crowd making music in the wake of Nevermind seemed even less enamored with the slick production values, classic rock nods, and testosterone-fueled moshing culture that came with the Zeitgeist, favoring their own kind of Revolution Summer-style pivot away from the popular sounds of the era towards a more emotionally nuanced, melodic, and inclusive style of punk. The Puget Sound trio Lync perfectly captured the spirit of that era, blending the passionate chaos of the DC and San Diego scenes with the rough-hewn DIY pop sensibilities of Olympia's thriving indie community into one unified sound. Though they were only a band for two years, they helped define the next era of the Northwest underground, inspiring countless other artists and instigating the creation of beloved records from the region. After being out of print for over a decade, the band's sole LP These Are Not Fall Colors has been remastered and expanded into a 2xLP with the inclusion of "Can't Tie Yet"_a compilation track from the album's recording session_into a deluxe edition available courtesy of Suicide Squeeze Records. Originally released on K Records in the summer of '94 just a few months before the band called it quits, These Are Not Fall Colors is a boisterous collection of scrappy basement-show anthems played on duct-taped-together gear. Led by the off-kilter melodies of late singer/guitarist Sam Jayne and hammered into place by the driving bass of James Bertram and drum battery of David Schneider, the album's eleven songs channel that undefinable sound of the early `90s before descriptors like "post-hardcore" and "emo" became pejorative terms. Sure, you get a sense of the more sophisticated mid-tempo punk approach on songs like "B" and "Silverspoon Glasses," and maybe catch wind of wistful songwriting on "Pennies to Save" and "Cue Cards," but Lync seemed to cull their ideas from whatever bits of inspiration they could find in the gray gloom and geographic isolation of western Washington, absorbing it all and churning it together into a style uniquely their own. Despite Lync's short existence, modest aspirations, and DIY approach, their work had a ripple effect. Jayne would go on to make music under the moniker of Love As Laughter. Built to Spill's Doug Martsch was so enamored by the album that he enlisted Bertram and Schneider to serve as his rhythm section on the There's Nothing Wrong with Love tour. These Are Not Fall Colors engineer Phil Ek would go on to help record and produce records by Fleet Foxes, Band of Horses, and The Shins. Early bassist Isaac Brock and These Are Not Fall Colors album art contributor Jeremiah Green would go on to form Modest Mouse. Bertram and Green would also go on to form the revered indie rock group Red Stars Theory. At times it feels like you could pick any major Northwest indie rock group from the `90s and `00s and trace their DNA back to Lync. The deluxe edition of These Are Not Fall Colors comes pressed on 180g vinyl and packaged in a gatefold cover with printed inner sleeves and expanded artwork by Jesse LeDoux. The 2xLP also features an 18x24 poster with extensive liner notes by Brian Cook. Altogether, this new version of These Are Not Fall Colors not only brings this celebrated classic back into analog libraries of old fans, it also provides new context and appreciation for Lync's ongoing impact on both a local and international level.

Recorded, produced, and chiefly knob-twisted by Minus the Bear, Menos El Oso moves further into the band's forward-thinking, angular rock canon. Weaving through territories long established by 70's prog-rockers (Yes, Rush), '80s proto punks (Fugazi), and '90s art rock mind-fucks (Jawbox, Joan of Arc), Minus the Bear invokes the modern love affair between dance-driven strategy and lush, Upper Pacific sweater rock.

It was winter. Six Parts Seven had returned to Ohio after touring out to Washington State, to record Casually Smashed to Pieces. There was down time between the recording and the actual release of that album in January 2007, and we were rehearsing, playing local shows, and collaborating, with most of us involved in other projects to keep the momentum going (Mike w/ Talons, Al w/ Beaten Awake), but the one we all came together over was recording an album with Joey Beltram, the songwriter behind Goodmorning Valentine, a local band we shared players with, a band we deeply admired. The music on Kissing Distance came together over two weekend days. There were a lot of people around; 6P7 and GMV players coming and going from the Saint Ledger House. There were handles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. We all went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productive the following day. Chalk that one up to relative youth. Over those two days, songs were cut without any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seems inevitable. The first song on the album, "Mediation in D," had been written a couple of years before, and was the decided spark that set the fire blazing: for both bands, this song was the starting point, an invitation to take things further, to expand, combining players from both bands, our 'toolbox' had increased in size from a single hammer to a toolbox. Everything came easily at this point. "Drunk from the Bottle," is the first of the one-take/one mic songs: an SM58 used for both vocal and guitar, making it impossible to over-think anything: You got the version, or you did not, that simple. "Instrumental #2," is the last full/core band recording by Six Parts Seven. The first piece in our catalog written/arranged by Tim Gerak. This song would have been developed on our follow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in this is real. It's there in the bass guitar, tuned high and open, played with a slide, and utilizing one of Jamie Stillman's pre- Earthquaker Devices fuzz pedals. "Lonely Daughter," is another one-take/one-mic song, notable for the lead-guitar, played by James Matthew Haas, who overdubbed his part, months later, standing alone on the deck at Joey's folks place, playing to the moonlight, making magic...

“Challenge” was released in 1981 on Bootleg, a record label born inside a record store in Pavia with the same name. “Challenge” keeps the original and uncompromising punk attitude alive. 3 groups: No Suicide (from the Udine province), Mercenary God (from Gemona), No Submission (from Treviso), all sick children of the industrious, rich and Christian Democratic north-eastern part of Italy. I read about them in “New Fahrenheit” (a controversial article about local rivalries, common backgrounds and eventually separate roads.) but I don’t know their music. Something tells me that “Challenge” is the record I was looking for, perhaps because of its very powerful cover with no slogans, and a circled “A”. I send the money in a sealed envelope and wait. When the package arrives, I open it, I put the record on the turntable and let the needle go. The first listen is enough to realize that this is a crucial release, a real “challenge”.

The challenge is against an indifferent market. The instrument is a sound that is already changing skin. No Suicide, Mercenary God and No Submission have nothing to do with Great Complotto, they are the other face of the northeastern underground. Punk is their background, (read “hardcore” for No Suicide) but for all of them there is a progressive detachment from the original material, including a common attitude towards the caustic sound coming from the harshest side of British wave. A classic example of “work in progress” able to generate great songs like “The Degraded Men” by No Submission (the band that later evolved into Wax Heroes), one of the peaks of Italian post-punk. Mercenary God will give birth to The Sex, while No Suicide with their tight hypnotic hardcore will disbanded soon. It’s 1981 when the rain clouds on the “Challenge” front cover seem to remind us that the wind is going to change soon.

3 bands, 11 songs, an unearthed piece of history 43 years after its first release. Thanks to this reissue, “Challenge” is now back on track. A different disc, today as then. (Luca Frazzi)

To celebrate Minus the Bear’s 20th anniversary, Suicide Squeeze is issuing the band’s earliest recordings on color vinyl. 'This Is What I Know About Being Gigantic' is the starting point, Minus the Bear’s debut. Originally released on CD in 2001, this edition was remastered for vinyl by the legendary Bernie Grundman, the Hollywood-based sonic icon behind many of the industry’s landmark recordings. This pressing is limited to 1,000 copies

To celebrate Minus the Bear’s 10th anniversary, Suicide Squeeze will issue the band’s earliest recordings on vinyl. “Highly Refined Pirates,” is Minus the Bear’s first proper album. Originally released in 2002, this edition is being remastered from the original tapes, for vinyl, by the legendary Bernie Grundman, the Hollywood-based legend behind many of the industry’s landmark recordings.

New pressing on limited pink vinyl. "...Holy Wave is certainly dreamy in a sense, but theirs is the kind of dream that's more vivid than blurry, more present than passing." – Consequence // "They've got the far-off, dreamy vocal wash of the shoegazers, but their guitars and hooks are anything but subtle." – Pitchfork // Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial

Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century

THE CULT 1992 DEBUT OF DOOM-TINGED DEATH METAL SAVAGERY -
PRESENTED ON CD FORMAT WITH ORIGINAL COVER ARTWORK & FULL
LYRICS
Formed in 1989 in Milwaukee, Wisconsin USA & among the group of earlier death
metal acts to grace the label roster, Accidental Suicide released their one, sole
album in 1992, originally through Peaceville's Deaf Records imprint, which was
the initial home of other notable acts such as 'At The Gates' & 'Morta Skuld'. Being
much more than a pure "blast" styled death metal outfit, Accidental Suicide
introduced & utilised a doomier presence also, even recalling other classic
pioneers of the genre such as 'Paradise Lost', to lend a twisted & at times sombre
dynamic to the tracks, with this effective diversity to the compositions through
the tempo variations & deranged melodic passages scattered throughout the
album. The tortured & sinister vocals of Ed Jackson narrate tales of morbid
brutality & murder behind a wall of punishing riffs, for what stands as a prime
example of classic early 90's death metal execution.
'Deceased' was engineered & mixed at Mauer Brothers Recording Studio in
Milwaukee, with production work handled by Eric "Griffy" Greif.
Cover artwork was created by Chris Drew, also responsible for other early
Peaceville artwork on Impaler's 'Charnel Deity' & Baphomet's 'The Dead Shall
Inherit'.
This edition of 'Deceased' marks 30 years since the original release & is
presented officially on CD for the first time since the original 1992 pressing,
including the original artwork & full lyrics.

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

teen suicide's first & only proper album, `i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like `cop graveyard' and `grim reaper' sit beside more energetic full-band outings like `dead bird skeleton and `give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center. It's to the band's credit that their more outré moments feel necessary, not distracting. What becomes clear upon listening to `my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality

Fans of JAMESON RAID or MACAXE will definitely enjoy what we have prepared for this release.

Includes all the usual extras, unreleased rehearsal tracks and special mastering for vinyl for best audio experience.

Limited to150 numbered copies in black vinyl, this deluxe edition includes:
* A4 insert
* Band promo photo
* Hand-numbered certificate card

Limited Black & White Swirl Vinyl. On December 29, 2012, three songs into Chastity Belt's first KEXP in-studio, something extraordinary happened: they shared "Black Sail" with the world. That year, I'd seen Chastity Belt play countless basement, bar, and DIY shows all over Seattle, but nothing could've prepared me for how my friends turned patience and quiet observation into something so affecting and effortlessly cool. Ten years later, "Black Sail" isn't just a fan favorite - it's practically a statement of purpose for the great albums that followed. But before those records, there was No Regerts: the sound of four friends evolving from a party band into a "real" one (whatever that means) in real-time. They're above it all on "Seattle Party," "Happiness," and "Evil," but remain the sirens of Whitman College's cursed frat houses - see the explosive choruses of "James Dean," "Healthy Punk," and "Pussy Weed Beer." When No Regerts came out in the summer of 2013, Seattle - and the world at large - took notice. I still hear these songs in surprising places, and they still surprise me - just as they did a decade ago. If you missed out the first time, this is your second chance.

al

This will be an anniversary edition LP on clear vinyl in a jacket with a silver foil stamp on the lettering - It will also include a 12 page booklet, a printed innersleeve and a sales sticker

The LP was fully remastered from the original analog tapes, and includes a previously unreleased track called "Smile"