Escaping the contours of his surroundings to dive deep into his own head, The Splendour Of Fear saw some of Lawrence’s most wonderfully sorrowful lyrics, matched with the dark black slabs of creosote guitar. Ask any Felt fan and they will tell you, The Splendour Of Fear is the one you most need.
If you have been grabbed by Coil, Kate Bush & Cocteau Twins or recently the Solid Space reissue on Dark Entries, Offen and Stroom than look no further than this for your next hit of undiscovered, 80’s eclectism. Existing entirely out of time with the groups and music that made up their surroundings back in the 80s, and praised in mixes by everyone from The Black Dog, Regis, Sleeparchive & Blackest Ever Black. Felt are one of the most incredible, yet criminally unknown groups of the post-punk generation.
Soul Jazz Records new release takes us on a serious road trip into the North-West region of the USA, 1986-97, to explore the amazing lost and forgotten sounds of the Grunge era.
This Deluxe massive 28-track Double CD with 44 page outsize booklet features extensive text, band features and interviews, exclusive photos.+ Also Worldwide digital release + Also Ltd.Edition Two seperate double-vinyl albums with full notes and free download code.
The underground music scene of the North-west of America arose from the early 1980s, strung out in isolated towns across the vast state of Washington. In its early days bands who showed an allegiance to their roots of punk. Yet, by 1991,Nirvana, the biggest band in the world, had been born from this community of outsiders.
This compilation features some of the many divergent bands who emerged out of the North-west during this era. Intensely researched and documented this album features many bands who have now disappeared from history after releasing maybe just a couple of singles, or an album, or even never making it onto vinyl – alongside some bands that continue to this day.
Perhaps most fascinating is the wide-ranging styles that these grunge bands incorporated – from punk to metal, experimental and more.
All Roads lead to Nirvana: 17 of the bands featured here played alongside Nirvana in the period 1987-93. All 23 bands featured feature members who shared a stage with Nirvana. Jack Endino (The Ones) produced 37 Nirvana songs. Dave Foster (Helltrout) was Nirvana’s 3rd drummer. Bundle of Hiss became TAD who played more gigs with Nirvana than any other band.
With fantastically in-depth sleevenotes, interviews with most of the bands, exclusive photography and all sonically remastered tracks this is a comprehensive double CD (and 2 volumes of 2xLP vinyl releases) bringing together the hidden, lost and forgotten sounds of the North-west grunge era.
A4 Burning Hand
A5 In Haze
B1 Everything Drifts
B2 Wounded Hearts
B3 It Might Hit First
B6 You’re Nothing
“Imagine a feather floating from outer space and landing on earth. What’s going on? Which bird did this feather come from? That’s what OOIOO’s (pronounced oh-oh-eye-oh-oh) music is like? so colorful and shiny that you can’t even see what is happening.
OOIOO’s Gold and Green reveals the group’s hard-to-categorize and refreshing avant-garde rock music, which adeptly incorporates elements of punk and more traditional tribal music. Their rhythms are unique and the organic interplay with the vocals is compelling. The music is complex and challenging and playful and childlike. Previously released only in Japan, Gold and Green includes guest appearances including Seiichi Yamamoto (Boredoms), Yuka Honda (Cibo Matto), and Sean Lennon. The album packaging, designed by Yoshimi, is a beautiful miniature gatefold album jacked filled with drawings and photographs by Yoshimi and other artists.
OOIOO began as a fictitious band for a photo shoot for Switch magazine in 1996. An all-female four-piece ensemble started by Yoshimi, the Boredoms’ drummer, the band quickly gained attention by being the opening act for Sonic Youth in 1997. On Gold and Green, Yoshimi shows off her musical imagination and virtuosity with her songwriting, as well as by playing the guitar, flute, and trumpet, singing, and adding a number of percussion elements. Yoshimi is joined in OOIOO by the striking Kayano on guitar and vocals, the petite and powerful Maki on bass, and the amazing Yoshico on drums.”
The five members of Cheena – Walker Behl, Margaret Chardiet, Keegan Dakkar, Logan Montana, and Eugene Terry–were all born and raised in New York City and have all cut their teeth in its musical underground. The band formed in 2014 out of their shared affinity for ’77 punk and a mutual respect for Mercer Arts-era NYC early glam and West Coast country punk. They were all friends playing the underground punk circuit, each with the desire to form a band outside of their own genre niches.
Appropriately, then, Cheena finds all five of its members stretching out of their usual comfort zones. Behl’s historically shrieking vocals are replaced with a more harmonious call, Chardiet trades the PE table for a fire engine Gretcsh Special Jet Fender twin combo. Montana taught himself to play slide guitar, Jeffrey Lee style. Dakkar tries out a thundering post-punk bass and Terry, a multi-instrumentalist, settles on drums, forcing himself to play at least two measures slower than any of his previous projects. Spectacularly, the result is a sonically coherent group who sound as though they’ve been playing together for years.
Citing wildly diverse influences– Gary Glitter, Slade, uppers, cartoonish depression, Iggy Pop, 70’s iron on font, Sex Pistols, booze andHawkwind— their unifying theme is defiantly one of late ’70s proto-punk. Eschewing the genre boundaries in which their other projects are so deeply entrenched, the band manages to channel a pre-internet spirit painfully non-existent in this age of Tumblr fashion and Discogs record collectors.
I Shall Die Here is the fourth full-length album by The Body. Sharing their moribund vision for I Shall Die Here with Bobby Krlic (aka The Haxan Cloak), the tried and true sound of The Body is cut to pieces, mutilated by process and re-animated in a spectral state by the newly minted partnership.
The Body’s brutal musical approach, engraved by drummer Lee Buford’s colossal beats and Chip King’s mad howl and bass-bladed guitar dirge, becomes something even more terrifying with Krlic’s post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal’s already unidentifiable corpse and splays it amid tormented voices in shadow.
Formed in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. A handful of precursor releases readied the band for seasoned explorations across their debut self-titled album (Moganano, 2003) and on the widely-acclaimed All the Waters of the Earth Turn to Blood (At A Loss, 2011).
The Body’s curtailing of formal classification figured heavily onAll the Waters. The album’s employment of the Assembly of Light Choir’s classical chorales alongside more industrial music techniques such as vocal sampling and drum programming in turn prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.
The earnestly experimental undertaking of I Shall Die Here is expertly aided by Seth Manchester and Keith Souza, The Body’s longstanding engineers and creative collaborators, and noted producer Krlic. Krlic’s own work as The Haxan Cloak struck a similarly despairing chord to The Body with last year’s celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife.
I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. On album opener “To Carry the Seeds of Death Within Me”, a dramatic pause partitions the seismic caterwauling and savage whump of the first half from the ambient, suffocating ripple of the second. From there, the dimensional doom marches on in procession, ceaselessly alternating between shape and shadow.
“Alone All the Way” is an iconic take from I Shall Die Here. An anonymous, distorted voice ruminates on the moral dilemma of suicide, (to paraphrase: escape from suffering, perhaps, but only by unleashing it on those close), before an oscillating snare / crash pattern enters stage augmented by overdriven guitar and fully throttled rage. Dispatches of electronic color complexly fill in the gaps before Buford’s beat transitions into a tribal, Burundi-esque rumble.
King’s strychnine scream serves less as a lyrical conduit and more as a caustic, flammable element to the overall fabric on “The Night Knows No Dawn”, the harsh, droning midpoint of the album. “Hail to Thee, Everlasting Pain” follows, wherein the album’s earlier unbridled bleakness is reignited by guest vocalistBen Eberle and then tweaked in a masterful combination of pounding doom and techno drum patterns.
Nine-minute closer “Darkness Surrounds Us” sends off I Shall Die Here with the prophetic event horizon. A metered stanza of spoken lines booms in hollow space, introducing a passage of thin, searing textures of strings and mutating bass rhythms. Where Buford’s drums are triggered, they pose the final stages of the album’s bitter resolve. The guitar, so indistinguishable here from over-gained bass, proceeds with King’s vocal into inevitable oblivion.
According to the band themselves, they sought to create something wholly experimental with I Shall Die Here. In the course of its creation and recreation, they have attained that rare artistic goal: an album with few precedents and a paradigm shift richly realized. Bobby Krlic’s downcast electronic visions laces seamlessly into The Body’s already volatile mix of fissured doom metal and fused verbal spaces. The onset of a new music emerges with I Shall Die Here, and in its shifts, shadows, and reeling voices, the darkest possible formulation of electronic music has been realized.