Posts Tagged ‘Suicide Squeeze Records’

The core of the Los Angeles four-piece began with Laila Hashemi (keyboardist-vocals) and Lexi Funston (guitars/vocals) whose friendship carried from preschool days to the halls of the Santa Monica-Malibu Unified School District. Ditching the playground for a practice space in high school, they caught up with Staz Lindes (bass/vocals) and welcomed David Ruiz (drums, vocals) in 2015. The Paranoyds’ mission was to craft songs with the gritty spunk and dark playfulness of a cult-classic splatter film is shared equally. The band notes that “Lexi and Staz are the predominant writers but the songs get all their true personality once David and Laila have something to say about it.” Their self-described “sister vocal act” shares the snarling, over-it-but-totally-into-it vocals throughout their songs, moving from dirty surf-pop guitar jams to power-packed garage rock.

The Paranoyds’ debut release on Suicide Squeeze offers a taste of what The Paranoyds have been performing on the road. Once back in their native Southern California, the band began work with Mark Rains at Station House Studios to follow up a handful of EPs that have previously captured the bands’ energetic and exciting sounds. “Hungry Sam” is a binge-worthy feast of chugging guitars and belly-rounded drums that stands as a live show favorite for the band. Funston sums up the regret and dread of dealing with excess, leading the band in a chorus of “I was hungry”, and her manic laugh is the bursting point which sends the band on a downward spiral. Hashemi’s kooky, playful keys sound like the soundtrack of a final lap in a classic video game, powered by Ruiz’s rumbling drums and a wipeout bass walk from Lindes. B-side “Trade Our Sins” is a cautionary slowdance fit for the end of the night or the end of the world. Desire’s doomsday has arrived, and as Lindes warns “the train is coming” over a simple waltz of guitars and keys, we hear of two lovers in a now-or-never moment to share in sins delights before it’s too late. All seems well though, as the song closes with a cheeky whistle punctuated by ecstatic moans and a final, satisfied sigh. While the band describes this b-side as a one-off from their core sound, it offers an enchanting, seductively playful gem for those wishing to know a sultry, downtempo side of the band.

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The Paranoyds have kept a low profile on social media, keeping in the punk traditions of eschewing societal norms. They do what precocious punk bands do best – hit the road and make the world listen. They know the world is watching, from their outings as direct support for DIIV, Albert Hammond Jr., Sunflower Bean, and BRONCHO. Inevitably, more eyes will be on The Paranoyds, and they have the power to let their snarky, punk driven paranoia drive them to the sweet spot of insanity.

released July 14th, 2019
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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.

“The Devil You Know is a collection of glorious cassette-tape jams with unfussy production, tight melodies, and precise vocal harmonies.” – Pitchfork

“The Devil You Know is a vital and exciting record – one which gathers up the past and pointedly thrusts it into the present. Topics like institutionalised evil, war and greed are always valid targets and The Coathangers go for the throat – and draw blood – pleasingly and memorably at every opportunity. This should be their moment of glory.” – Drowned in Sound

“The Coathangers infuse every note they play with an intense energy that bristles with anger, attitude, and snarky humor.” – New Noise

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

The Coathangers’ repress of The Devil You Know is out now on limited-edition color-in-color-out variant of coke bottle green (out) and magenta (in) vinyl. Limited edition of 500 copies.

L.a. witch octubre clean version

Produced by Gregg Foreman (Cat Power, Delta 72). L.A. Witch’s eponymous debut album tapped into the allure of warm nights on the West Coast while hinting at the loneliness and lawlessness of living on the periphery of a country founded on a dark past. The three-piece composed of Sade Sanchez, Irita Pai, and Ellie English culled sounds from the outlaws of warmer climes, whether it was 13th Floor Elevators’ lysergic rock n’ roll or the cool hand fatalism by The Doors on songs like The End. It’s an album transmitting subdued revelry while also smirking at the inevitable consequences of the night.

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There is no better season for these kinds of songs than the autumn, when the promises of summer have abated and the nights of reckoning grow longer. L.A. Witch seized the moment by revisiting some of their early tracks and reshaping them into Octubre, a five-song EP that delves deeper into their darker side.

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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.