Posts Tagged ‘Suicide Squeeze Records’

The Coathangers will perform at NSFWknd.

The Coathangers have been creating their special blend of garage punk for 13 years, and now after a long break in their breakneck recording and touring schedule, they will come back with a matured sound and a fresh new album, The Devil You Know“There’s a big significance,” singer and guitarist Julia Kugel says of the band’s 13-year staying power. “I’ve been doing this for over a third of my life. We’re very lucky to be able to keep doing it.”

Since 2007, the band has kept to a fairly steady release schedule, with an album or EP release just about every other year with a baker’s dozen singles sprinkled throughout and an ambitious touring schedule to boot.

However, after releasing and touring their live album in 2018, the band took the latter half of the year off for some personal time to reflect on themselves, not only as a band but as friends. “Having time off to process,” Kugel says, “gave us some time to write and relax and just be normal — to be in one place for a little bit and not be moving. Then we came back together having reflected on life.

“You know, even with our friendship, sometimes it’s important to just be friends and not bandmates.”

That time to reflect on the band and themselves helped inspire some of the more inward-focused tracks on the new album. “It’s like, ‘Where am I in all of this?’” Kugel says of the new album’s perspective. “We’ve always been pretty honest in our lyrics, and it’s always been personal. But this one we definitely touched on all the most hurtful parts.

The Coathangers new studio album, The Devil You Know, out now on Suicide Squeeze Records.

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In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album ​The Devil You Know​. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with ​The Devil You Know, it feels like we’re hearing the first Coathangers record written as a true unit.

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The Coathangers ‘The Devil You Know’
Out March 8th, 2019 via Suicide Squeeze Records.

At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Fun House’s sonic exorcisms, ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy.

Death Valley Girls ‘Darkness Rains’ out October 5th, 2018

Beyond-beyond excited to present to you “Disaster (Is What We’re After)” from our new record, Darkness Rains, out October 5th on Suicide Squeeze Records. Video starring Iggy Pop and directed by Kansas Bowling,

The Kansas Bowling-directed clip is a direct homage to a scene in Danish filmmaker Jørgen Leth’s 1982 film, 66 Scenes of America, in which Andy Warhol eats a hamburger. Iggy Pop of course puts his own spin on the simple activity, nodding along to Death Valley Girls’ infectious rocker and even taking a healthy, low-carb approach halfway through when he discards one of the buns.

“We’re strong believers in opti-mysticism and connecting with people through rock n’ roll,” Death Valley Girls said of the video. “Having Iggy dig our music was more than amazing for us. When [director] Kansas told us she had a dream about recreating the ‘Andy Warhol Eating a Hamburger’ short film but with Iggy starring for our music video, we were cautiously excited about the possibility. Next thing we know we’re in Miami with Iggy himself, and a rock n’ roll dream became reality!”
Album opener “More Dead” is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden’s proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a distillate of Detroit’s proto-punk sound. At track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars”.

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Releases October 5th, 2018

The Coathangers Live

Atlanta garage punks The Coathangers are releasing their first-ever live album, simply titled LIVE, on June 1st via Suicide Squeeze Records. It was recorded across two nights at Alex’s Bar in Long Beach last November, which were free shows “replete with magicians, tarot card readings, burlesque dancers, palm readers, and a giant paper mache rabbit for photo-ops.” It’s a career-spanning collection of songs, from their 2007 self-titled debut through 2017’s Parasite EP. “It’s like our anthology… our entire career in 38 minutes,” said guitarist/vocalist Julia Kugel. The show was recorded by Dylan Ely and front-of-house engineer Eric Huff, and Kugel’s husband Scott Montoya mixed it in their new home studio.

Along with the album’s release, The Coathangers are also putting out some live videos from those Alex’s Bar shows, and we’re premiering the one for “Hurricane” from 2011’s Larceny & Old Lace. “This song is based on a friend of ours from New Orleans who was similar to a lot of our friends, and us, at the time. Just full of crazy energy and strong, and sometimes dangerous in ways. Yet still empowering! It’s one of my favorite songs because it’s so creepy and sort of evil, yet still really fun to sing,” said drummer/vocalist Stephanie Luke.

The Coathangers recently wrapped up a run supporting their labelmates Minus the Bear’s Planet of Ice 10th anniversary,

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Though the band hails from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the analog sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can’t afford Phil Spector’s wall-of-sound, but the instruments’ simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash’s first-person morality tales than the vacuous empty gestures of pre-fab pop bands.

This isn’t music for the masses; it’s music for miscreants, burnouts, down-and-out dreamers, and obsessive historians. Album opener Kill My Baby Tonight is the perfect introduction to the band’s marriage of ‘60s girls-in-the-garage charm and David Lynch’s surreal exposés of Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow-burn build of drummer Ellie English, and Sanchez’s desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator’s crimes. Brian follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like You Love Nothing, through the motorik beat and fuzzed-out licks of Drive Your Car, to the grittier permutation of Mazzy Star’s sleepy beauty on Baby In Blue Jeans.

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It’s tough to keep up with garage rock’s wunderkind Ty Segall. Between his steady release schedule of LPs, raucous side projects like Fuzz and GØGGS, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it’s as if a season can’t pass without Segall dropping a new record. And that’s not even taking his cassettes, splits, and EPs into consideration. Fortunately, Segall’s bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty’s impressive canon with the Sentimental Goblin 7”. Side A features “Pan”, a fuzz-soaked proto-metal jam that links Beatles’ pioneering guitar dirge “I Want You (She’s So Heavy)” to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on side B and conjures the erudite pop appeal of T. Rex and Bowie with the lush glam rocker “Black Magick”. Suicide Squeeze Records is proud to release Sentimental Goblin to the world on March 17, 2017. The initial pressing consists of 1000 copies on half blue / half yellow vinyl and includes a download card. The third pressing consists of 1000 copies on half pink / half purple vinyl and includes a download card. In a testament to his restless creativity and tireless work ethic, Ty also provides the artwork for the record. 

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At Last the long wait is over! The dark, the broody, the brilliant L.A. Witch have finally released their debut full-length LP, simply titled ‘L.A. Witch’ -not to be confused with their 2013 EP also entitled ‘L.A. Witch’– and to borrow an old cliche, it’s all killer.

The entirety of the album is drenched with luscious reverb and a sedating drone that calls hints of Greg Sage’s Wipers all while remaining true to the untouchable L.A. Witch sound -think 60s garage/ splatter movie soundtrack/southern swamp rock with pop sensibilities.

Tracks ‘You Love Nothing’ ‘Get Lost’ and ‘Drive Your Car’ are tracks that have all appeared elsewhere in the L.A. Witch back catalogue but each one slips seamlessly into this collection of nine individual masterpiece’s. Each track is a standalone, there’s no doubting that, however each track also seems to intertwine, to mesh a series of fragmented magic dripping with sweetly sinister overtones into one gigantic orgiastic feast that you know is probably bad for your health, but hey, your gonna dive right in anyway.

Kill My Baby Tonight’. The album opener kicks off with a blissful swamp/country twang before singer/guitarist Sade Sanchez ominously, somewhat unexpectedly, promises that she’s “gonna hurt her baby tonight”. Which isn’t actually that surprising at all considering the obvious influences the all-girl trio take from the cult-horror cinema of the 1970’s. The imagery is all over their work and with Sanchez’s swooning, seductive but murderously intent vocal, bassist Irita Pai’s stalking, premeditated Geezer Butler/horror creep drone and drummer Ellie English’s night-crawling Clifton James on PCP footstep creep, well you know damn well that once in the L.A. Witch web, you ain’t getting outta here alive. And death’ll be slow too. Real slow.

But hey, if death was guaranteed a soundtrack like ‘Kill My Baby Tonight’ and other killer tracks from this brilliant debut LP, well, sign me up Grim Reaper! I’m half-way there. So, so, so good. Gets better with every listen. The vibe of this album is phenomenal, feels simultaneously old school and very fresh. Definitely one of my favourite albums from this year.

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L.A. Witch’s self-titled debut LP is out now on Bandcamp and is released by Suicide Squeeze Records.

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Listening to L.A. Witch is like willingly being put under a spell. One that transports you to California in the late ’60s, when the air was ripe with magick and the music was felt, not just heard. Los Angeles has always been a home for misplaced souls, and L.A Witch has the sound to go with it, dripping with nostalgia, heavy reverb, and glamour.

With Sade Sanchez’s crooning vocals and melodic guitar, Irita Pai’s pulsing bass, and Ellie English’s striking drums, L.A. Witch’s eponymous debut full-length album is a tour through an unseen Californian landscape.

Released on September 8th through Suicide Squeeze Records, coming after almost three consecutive years of touring for the band, who never expected to release a full-length. “All the songs on this album are songs that we’ve written over the few years that we’ve been a band. We were just excited to find each other, we weren’t thinking, ‘Oh, labels and albums.’ So when we were writing, we weren’t writing necessarily for an album, we were kind of just writing. So this is going to be some of our favorite and best songs,” the band says.

The band refers to their sound as “dark and fuzzy,” the sort of music that would soundtrack a cinematic murder spree, as proven by the album intro “Kill My Baby,” or just a late-night drive through Hollywood, as with “Drive Your Car,” windows down and neon lights twinkling. This is the sort of album that transports you to an unfamiliar place that feels familiar, with a sound that’s both evocative of and nostalgic for the golden days of rock ‘n’ roll.

The album, which was recorded at Hurley Studios in Costa Mesa in three days between tours, has soul to it a grit and energy that can’t be fabricated. “It was really hard [recording this] because in that little bit of time, you’re doing something that’s such a permanent thing and you want to nitpick it because you’re your own worst critic and you want it to be perfect. And maybe there is such thing, but in our mind, it’s never going to be perfect,” the band says. But these so-called imperfections are what makes the album so much fun to listen to. Whether you’re blasting “Baby in Blue Jeans,” a slower ballad that gives Lana Del Rey a run for her denim, or “Good Guys,” with its spiky and punctuated chorus, these songs are best left unpolished, exposing the dark underbelly to sunny Californian life.

Technically, there’s no underlying theme to the assemblage of the album, though the down and dirty and inherently rebellious spirit of these songs make a statement with each play, especially when seen and heard in person. The three women all have their own distinct sense of style, in what could be described as a hodgepodge of “mod goth glam rock.” They’re reminiscent of iconic bands like The Cramps, whose unapologetic aesthetic and sound created an experience one had to see to believe. Their sartorial inspiration also comes from icons like Johnny Thunder and “his suit era,” Kurt Cobain and his “just not giving a fuck” attire, and Jeffrey Lee Pierce and his “gothic cowboy” style.

Although it’s easy to assume L.A. Witch has been put in a box for being an all-woman band, they think about it differently. This is a band that isn’t meant to be put in any category, especially not one that denotes gender for the sake of it. To simply think of L.A. Witch as a “girl rock band” severely underestimates their scope and talent. To put them in a box is to beg them to break out of it. “Personally, I don’t pay attention to gender, I pay attention to what you’re actually doing,” Sanchez says “I’ve never been phased by, ‘Oh that’s a girl doing this, or a girl managing a band.’ I don’t necessarily agree that it’s a male-dominated industry. I think there’s a lot of women involved, and there just hasn’t been as much attention on them as there is now. I don’t know if it’s a fashion thing, I don’t know what it is.”

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After a few years in the making, L.A. Witch is setting the scene to cast their spell. With tours across the United States and Europe this year (see the details below), not to mention their debut full-length, the three-piece is finally weaving their magick with their old-school southern California charm. As for what we can expect from the band going forward, the answer is pretty simple. A sophomore album in the future, plenty of more touring, and the sort of dark rock that tempts you to unleash your inner vixen.

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UK DATES
SEPTEMBER
18 Bristol, The Crofters Rights
19 Brighton, Acid Box
20 London, Moth Club
21 Glasgow, Mono
22 Liverpool, Psych Festival

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If you’ve never before been surfing or had a wheat grass smoothie or participated in a cult like ritual in the spooky hills above Los Angeles, L.A Witch’s “Kill My Baby Tonight” will have you signing up for all three before you can say Joan Didion. The goth-pop trio’s debut album is inspired by 1960s-era Hollywood — a time when caftans were all the rage and serial killers were on the loose. Listen to “Kill My Baby Tonight” as you wander out into the sunset for a cleansing bonfire.

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L.A. Witch
“L.A. Witch” CD/LP/DIG
Release Date: September 8, 2017
Label: Suicide Squeeze Records

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L.A. Witch back in March last year and the threesome have signed to Suicide Squeeze Records for the release of their eponymous debut album.

Reverb-drenched guitar jangle and”Haunted surf rock, road trip blues and 60’s-sounding psychedelia” with sultry vocals conjure the analogue sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry.

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Band Members
SADE / IRITA / ELLIE

L.A. Witch
“L.A. Witch” CD/LP/DIG, Release Date: September 8th, 2017 . Label: Suicide Squeeze Records
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