Posts Tagged ‘Burger Records’

On this day (May 26th) in 1982: Los Angeles psych/garage rock revival band The Salvation Army released their self-titled, debut album on influential indie label, Frontier Records; (Since Reissued on Burger Records) after the charitable organization objected, they changed their name to The Three O’Clock and became one of the leading lights of the city’s burgeoning ‘Paisley Underground’ neo-psych scene…

In March 1981, South Bay, CA, teenager Michael Quercio formed the Salvation Army a punky, psych-influenced garage band that took most of its stylistic and musical cues from Lenny Kaye’s Nuggets anthology. Before the year was out, the Salvation Army had a single out on the Minutemen’s New Alliance label, a new guitarist (Greggory Louis Gutierrez), and a batch of new songs to demo.

After this demo was played on Rodney Bingenheimer’s massively influential Rodney on the ROQ radio show, signed the Salvation Army to Frontier Records and released the trio’s self-titled debut in May 1982.

The philanthropic organization took umbrage over the name and the Salvation Army politely changed their name to the meaningless but suitably psychedelic the Three O’Clock The band replaced drummer Troy Howell with ex-Quick drummer Danny Benair added keyboardist Michael Mariano, and transformed themselves into the leading lights of the paisley underground, a phrase invented apparently by Quercio that’s dogged him ever since. Fancher Records reissued the Salvation Army album under the clever name Befour Three O’Clock after the group misguidedly left Frontier for IRS, and in 1992, collected the full album, that pivotal five-song demo, and all four songs recorded during the sessions for the New Alliance single for a comprehensive collection of every Salvation Army studio recording.

As such, “Happen Happened” (named for the trippy A-side of that single, which appears in two versions) is a priceless document of the early days of the L.A. psych-pop revival scene. Fans of the Three O’Clock’s much glossier music might be surprised by the punky speed and noisy guitars, but the simple two- and three-chord songs are bracing and surprisingly melodic, and flashes of Quercio’s skewed lyrical bent are already visible in songs like “While We Were in Your Room Talking to Your Wall.” Six songs are repeated, though there are only notable differences in a couple of cases and invariably the album versions are superior to the demos. Regardless, this is both a definitive historical collection and a great piece of early-’80s post-new wave punk-pop.

a.k.a. The Three O’clock, power pop / paisley underground
from Los Angeles, California… 1992 “Happen Happened” CD Reissue of 1982 “Salvation Army” Album, plus 9 bonus tracks [Frontier Records, 01866 34639 2]

discogs-indie-label-dig

Online music marketplace Discogs has just launched the Discogs Daily Dig, an initiative to support indie record labels during the coronavirus pandemic. Each day they will focus on a different indie label that will sell rarities, test pressings, out-of-print releases, and back catalouge through Discogs. It started today (5/5) with Numero Group and here’s the first week’s schedule:

  • Tuesday, May 5 – Numero Group
  • Wednesday, May 6 – Captured Tracks
  • Thursday, May 7 – Burger Records
  • Friday, May 8 – Trouble In Mind
  • Saturday, May 9 – Stones Throw
  • Sunday, May 10 – Drag City
  • Monday, May 11 – Third Man Records

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The ‘Cosmonauts’ are an alternative garage/psychedelic rock band from Orange County, California. If you mention Cosmonauts in most LA, nods of recognition will ensue, followed by a proud reference to someone’s friend doing a stint in the band, and several enthusiastic adolescent memories of shows gone by. A longstanding project of core members Alexander Ahmadi and Derek Cowart, Cosmonauts sit as one of the acts most strongly — and deservedly — associated with the boom of local label Burger Records. At 10 years, and countless shows in, Cosmonauts have solidified their status as both indie touchstone and hometown heroes, a source of cultural pride amongst suburban-bred kids who watched them make the scene.

It was apparent even then that Cosmonauts had a clear vision. They took their sound seriously, turning up their noses at effects pedals while simultaneously turning up their amps as far as they could go. They worshipped the drawn-out melodic drone of Spaceman 3 and The Jesus and Mary Chain, two bands whose influence was unabashedly apparent on the debut.

While Burger Records has grown to stand for, and sound like, any number of things, there’s always been more to Cosmonauts than lo-fi-surf and half-baked garage-pop. Razor-blade riffs and relentless walls of sound (see the audio assault of “Seven Sisters” and the fire-alarm guitars and self-destruction of the massive “Wicked City (Outer Space)”) shatter out the shambolic jangle of their psych-rock peers with power and intention. The punch-in-you-gut intensity comes courtesy of the duo’s mission to go back to basics.

Cosmonauts 12″ LP

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Released June 11th, 2010.
All songs written and performed by Cosmonauts

If You Wanna Die Then I Wanna Die 12″ LP

“If You Wanna Die Then I Wanna Die”  Burger Records. ‘Motorcycle #1’ is by the amazing ‘Cosmonauts’. It was released in March 2012 as the b-side to the single ‘Emerald Green’. It is also the first track on the ‘Cosmonauts’ second album ‘If You Wanna Die I Wanna Die’.  They don’t sound like this so much anymore, but every song on the record is a winner.

We should say that when ‘Motorcycle #1’ was first released there wasn’t a video so as it’s one of our favourite tracks of 2012 we just wanted to try and put something together for it so we edited the final scene from Ghost Rider II so, we hope its does some justice to what is such a cool tune.

“If You Wanna Die Then I Wanna Die”  Burger Records The track ‘Motorcycle #1’ is by the amazing ‘Cosmonauts’. It was released in March 2012 as the b-side to the single  to ‘Emerald Green’. It is also the first track on the ‘Cosmonauts’ second album ‘If You Wanna Die I Wanna Die’

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Released April 27th, 2012

All songs written & performed by Cosmonauts.
Recorded in August 2011 by Adam Ashe at Thee Men’s Warehouse in Anaheim, CA.

Persona Non Grata

“I was only 19 years old when Derek and I released the first Cosmonauts record,” explains Ahmadi, “So pretty much everything I’ve learned as an adult, I learned from being in the band.”
“Yeah, clearly we haven’t learned much,” Cowart adds, “I guess I’ve learned that hype and trends come and go, but great songs last forever, The dynamic between Cowart and Ahmadi has always been the foundation of Cosmonauts’ sound and the evolution of their musical partnership deepens with every new release. Though they’ve always sung in unison (but never harmony), they’ve increasingly started to employ call-and-response in their music, singing different things at the same time to each other and to the audience, balancing two opposing points of view within one song. While it’s tempting to divide Cosmonauts’ catalogue into “Alex songs” and “Derek songs,” the band doesn’t approach their songwriting in a bifurcated way.

California sun-soaked shoegaze songs about boredom, feeling out of place, and trying to work through weird relationships.

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Wear Your Hair Like a Weapon”​/​”Sweet Talk” limited red 7″

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Star 69′

It’s an idea that’s toyed with throughout “Star 69”, the band’s fifth studio album and follow-up to 2016’s A-OK!. “Love my little bubble / love my little scene,” they sing over the drug-laden slide guitar and back beat of the Odelay-like opener “Crystal,” the sneer in the delivery hinting that the love may be double-edged. Then there’s the entirety of “Medio Litro,” an ode to conversations we’ve all had out on smoking patios at varying stages of that night’s bad decision-making. Lines like “We’ll go to the party / If we can find parking” and “Get another manager / and another publicist / Call me when you get this / Make it on the guest list” are delivered with the perfect detachment of a band that is well-acquainted with the game, and still has no intention of playing by the rules.

“It was really important that Star 69 was recorded as live as possible,” explains Ahmadi. “We needed to record the album in a more immediate and demanding environment. I think in the age of Ableton, the energy and urgency of a live band really can’t be overstated.”

Psych, punk, shoegaze, and always something else, the Cosmonauts sound is Spaceman 3, Brian Jonestown Massacre, Jesus and Mary Chain through a 75-and-sunny, strip-mall lens–it’s UK by way of So-Cal, the lucid lyrics and heat-shimmer guitars so indicative of the now-familiar sound they created.

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Star 69 finds them at the height of those powers, the trip or two around the block injecting the album with a confidence and completeness that gives tossed-off lines like “I wish I was high or dead, or something” (the gorgeous and unexpected “Heart Of Texas”) a kind of hungover, squinty-eyed poetry. Everything from almost-love songs (“The Gold Line”) and odes to untimely death (“Suburban Hearts”) are given the usual yawn and stretch treatment–a deceptive casualness that underpins the level-up songwriting and intricate musicality of the band’s strongest effort yet.

Released September 6th, 2019

A-OK!

The band, for this album is made up of Ahmadi and Cowart plus bassist James Sanderson III and drummer Mark Marones, their fourth album A-OK!. It’s their first LP in 3 years, and is perhaps the prettiest record Cosmonauts have ever made. The vocals are clearer, the beats dancier, the tones janglier, and there’s more diverse instrumentation than on records past (plus for one: they use pedals now). They have a preternatural ability to transpose their many musical influences into songs that capture the feel of an era rather than imitating an exact style. While the band is still, and probably always will be, very much indebted to ‘80s and ‘90s.

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The songs on A-OK! show a natural progression from the leaner sound of 2013’s Persona Non Grata, fleshing out Cosmonauts’ talent for bending noise into irresistible pop. They’ve dialed down the noise and started favoring subtle atmospheric shifts and sweetly melodic sections, which balance out the darker elements that have always underpinned their sound. The vocals are less affectless than before, giving A-OK! a sonic depth that’s new for the band. The menacing creep of “Doom Generation” slowly ramps up the anxiety before plunging the listener into a well of reverberating guitar.

Cosmonauts – Short Wave Communication feat. Shannon Lay. On “Heavenspeak,” Cosmonauts punctuate an undulating dance rock groove with a wash of white noise. Though (lots and lots of) guitars are still the anchor of Cosmonauts’ sound, A-OK! has instrumental surprises aplenty: a synth burbling below swaths of reverb on “Shortwave Communication” (which also features honey sweet backing vocals courtesy of Shannon Lay of Los Angeles band Feels) or a Wurlitzer going toe-to-toe with the guitars on the buoyant “Good Lucky Blessing.”

“Party at Sunday,” the record’s first single, is a languid, longform lullaby with a placid guitar lead that’s as soothing as it is sad. The accompanying video, a flickering array of beautiful people moving through a softly-lit, pink-and-blue world with an extended shower make-out scene at the conclusion, has racked up 20,000 views on YouTube. In typical Cosmonauts fashion, despite its gorgeous imagery, the song itself is a complete bummer. The denouement: “I fell in love and I hated it.”.

Released August 19th, 2016 Cosmonauts – “A-OK!” from album, ‘A-OK!,’ out August 2016 on Burger Records.

Burger Records is proud to announce the digital release of our massive compilation ‘QUARANTUNES: Songs From Self-Isolation’ on Thursday, April 16th at 6:00 p.m. PST. ‘QUARANTUNES’ is a 7-volume series featuring over 140 different artists with all songs written and recorded by the artists over the past three weeks.

All funds from sales of individual tracks and compilation volumes will go directly to the artists. Furthermore, Burger Records will be covering all fees associated with posting and selling the music to maximize the amount artists make. We came up with the idea for the compilation as a way to help artists earn money with their music while they are unable to play live and make the best of a bad situation in difficult times. Executed in true over-the-top Burger style, ‘QUARANTUNES: Songs From Self-Isolation’ is a DIY music event and an audio time capsule of one of the strangest and scariest periods of modern history.

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Each track in the QUARANTUNES: Songs From Self-Isolation compilation will be available for purchase on Bandcamp for $2.00. ‘QUARANTUNES’ volumes 1-7 will be available to purchase for $20.00 each.

released April 16th, 2020

All songs unreleased, recorded during lockdown and about this whole crazy situation we’re all in. #stayhome #staysafe.

Burger Records is a 100% family owned n operated rock n roll philanthropic quasi-religious borderline-cultish propaganda spreading group of suburban perma-teen mutants releasing rare to well-done records n tapes since 2007!!!,

Fans of Colleen Green probably know that blink-182 has always been an influence on her lo-fi indie punk — she released a cover of “M+Ms” off their 1995 debut album Cheshire Cat back in 2010 — and now she is releasing a full covers album of their 1997 sophomore album “Dude Ranch”. She says that she actually first recorded the album in 2011 but lost it when her computer crashed, but now the idea is finally fully coming to fruition. Colleen drastically slowed down and recorded with just her voice and a distorted bass. It’s blink-182 like you’ve never heard them before, but the melodies remain untouched and these stripped-back renditions remind you how good blink were at writing pop songs even before the TRL days.

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I don’t remember where or when I got the idea to cover my favorite album of all time. , I don’t remember much of 2011. All I know is that sometime about 7/8 years ago, I decided that I was going to cover Blink 182’s “Dude Ranch” in its entirety…on bass. I borrowed a short scale from my friend Sandy Vu and gave myself 2 weeks to complete the project. 13 days later as I was applying the finishing touches, my computer started acting funny. I thought to myself, “Gee, I sure hope my computer doesn’t crash.” 14 days later, my computer crashed. I had no back ups because I always fly by the seat of my pants! I tried to recover my work to no avail. I was heartbroken, so much so that I was unable to revisit the project in earnest until October 2018. Today I can say with much pride, happiness, and relief that “Blink 182’s Dude Ranch as played by Colleen Green” is finally real and ready to be enjoyed by fans of Colleen Green and/or Blink 182. This was truly a labor of love and I hope that those fans can recognize and appreciate that. And to the band who has influenced me and my life in so many ways: Thank you.

 “Dude Ranch” by Blink 182 as Played By Colleen Green available on Burger Records (2019) Released August 6th, 2019.

CHAI – ” Punk “

Posted: April 3, 2019 in ALBUMS, MUSIC
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Chai is a band who screams yes to joy, and Punk is a record written in earnest about being yourself, loving your friends, and not caring about what anyone else thinks about the way you live your life.”

Chai released their epic second LP ‘Punk’  via Burger Records on Friday and the reviews across the board are all amazing! Check out the album below and see them here in May..at the Bodega Social.

This Japanese bubblegum disco-punk band Chai. are getting great reviews fresh off the drop of their new album Punk at SXSW they rightfully received Best New Music from Bloggers Pitchfork, each of their sets were boiling over with more glittering energy than seen on stage in recent memory. Pop perfection and iconic matching pink and orange outfits, like some sort of guitar-wielding collective of superheroes, SXSW convinced everyone if anyone’s gonna save us, it’ll be Chai.

Now they have shared a video for the album’s “Curly Adventure.” The band’s bassist and primary artistic director YUUKI designed the animated video, which was animated by LA-based artist/animator Sean Solomon.

But the most fun act of South By South West was Chai, the jubilant four-piece rock band from Japan who charmed the hell out of everyone who saw them this week. Decked out in fitting shades of pink, all four women sustained their grins for the entirety of their set, during which they played songs from their delightful, uproarious new album PUNK. Toggling between Japanese and English, Chai destroyed any premonition of a language barrier. Also, the only love song ever written is about dumplings.

Our latest album on Lolipop/Burger—’Psychsploitation Today’—has had a great run, garnering a lot of attention & rad vibes. You may have heard that there were videos being made for all 10 album tracks…not only is that true, but we’ve also made a 35-minute movie featuring all of the tracks. Carve out some popcorn time for ‘Psychsploitation Today: The Video Album’

The Prefab Messiahs are back with a new installment of wiggy Garage-Pop-Psych scheming. Their fourth full-length release ‘Psychsploitation Today’ comes to you via Lolipop Records, with Burger Records .

These 10 self-produced songs represent a unique kaleidoscopic voyage through today’s cultural zeitgeist — taking on everything from 21st century media “Psychsploitation” to explosive ruminations about the “Last Day On Earth.” 

The Prefabs’ front Xerox Feinberg, a self-described “Lost Generation Wanna-be Spokesperson,” calls the album “a mental and sonic continuation of the things we were obsessed about from the beginning — mashing up the sounds and attitudes of ’60s garage-psychedelia with post-punk ’80s stuff and dragging all that into whatever ‘today’ is — while generally trying to poke people in the ribs and skewer some of the Big Shams behind all the Shiny Facades. We’re still trying to toss everything into the mix including the kitchen sink. We’re still bemused and shocked and disgusted with The State of Things — and also in love with the noises in our heads. The Prefab Messiahs’ work is never done.”

Released January 26, 2018

The Prefab Messiahs music with a 60’s influenced rock laden in lots of harmonies and layered vocals. Animation suits the music well and would especially appeal to collage kids–underground stuff, with much subtle, hidden commentary about life and its struggles without being heavy. Could watch it again and again and each time see something funny and new in the content.

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Los Angeles has often been described as a “dream factory” both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters’ attention.

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It was against this backdrop that the four members of La Luz–singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon–conceived of Floating Features, the band’s third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological.

Only La Luz could conjure up Floating Features’ Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers–golden rebels in a golden dream.

“California Finally” is the second single from La Luz’s Floating Features, out May 11th, 2018 on LP,

Band Members
Shana Cleveland – guitar
Marian Li Pino – drums
Alice Sandahl – keyboard
Lena Simon – bass

The spontaneous regeneration of The Prefab Messiahs continues to be one of the best left field surprises of the past few years. For those in need of a history lesson, the group started their life back in the early 1980’s as a band of young, scrappy, left field, DIY, post-punk, garage-psych-pop provocateurs, and a part of the Wormtown (Worcester, MA) underground scene. It was there they spent time kicking around with private press legend Bobb Trimble, playing local gigs warming up for bands like Mission of Burma, and recording a ton of spiky, retro-delic rockers.

For those keeping score at home, only a few tracks of the band’s output managed to sneak out during their brief lifespan. Most of the stuff they recorded was eventually collected and finally released on their most excellent anthology, Devolver, which was released on Burger Records a few years back.

Flash forward to 2018 – Psychsploitation… Today! is the group’s first full-length album since returning from their Reagan-era status and is the follow up to 2015’s excellent maxi-EP, Keep Your Stupid Dreams Alive. Using the psychedelic sounds of the mid-to-late 60’s as their modus operandi, the Prefabs have put together a solid set of day-glo tunes with their latest long player.

Even though their sound most definitely hearkens back to that golden age of jangly Rickenbackers and Beatle boots, the group is not content to simply be a revival act regurgitating the sounds of yesteryear. There’s a punk energy and urgency to these proceedings.  Take for example the “The Man Who Killed Reality,” which if you squint your third eye just enough, you might think belongs on some alternate universes’ Yellow Submarine soundtrack. Despite the band’s best efforts to turn on, tune in, and drop out in “Having A Rave Up,” or jam on monster hooks in the appropriately titled “Monster Riff,” the darkness of our modern times just seems to keep creeping up on them; whether it’s a “Warm Sinking Feeling,” the universal concerns of getting older on “Gellow Mold,” or the apocalyptic album closer “Last Day On Earth.”

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Perhaps it’s in troubled times like these we need bands like The Prefab Messiahs most. It almost goes without saying that it’s great to have them back.