Suicide Squeeze HHV Records 40 Items

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."

Where L.A. Witch's self-titled album oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across some unknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker "Fire Starter." The authoritative opener is a deliberate mission statement. "Play With Fire is a suggestion to make things happen," says Sanchez. "Don't fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn." And by that line of reasoning, "Fire Starter" becomes a call to action, an anthem against apathy. From there, the album segues into the similarly bodacious rocker "Motorcycle Boy"_a feisty love song inspired by classic cinema outlaws like Mickey Rourke, Marlon Brando, and Steve McQueen. At track three, we hear L.A. Witch expand into new territories as "Dark Horse" unfurls a mixture of dustbowl folk, psychedelic breakdowns, and fire-and-brimstone organ lines. And from there, the band only gets more adventurous. Play With Fire is a bold new journey that retains L.A. Witch's siren-song mystique, nostalgic spirit, and contemporary cool. Despite the stylistic breadth of the record, there is a unifying timbre across the album's nine tracks, as if the trio of young musicians is bound together as a collective of old souls tapping into the sounds of their previous youth.

Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks ofNurture! Freaks is a hauntingly hypnotic journey through auditory lands ofmelodic bliss and passively happy psych rock hallucinatory dreams. Holy Waveis a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in2008, they have cemented themselves as a unique national and internationaltouring circuit force. After perennial performances at Levitation (Austin PsychFest) and countless tours and festival appearances in the USA, Europe, LatinAmerica, and Africa, Holy Wave is poised to continue expanding into newspaces and places worldwide. With the recent release of their latest album, Fiveof Cups, this is the perfect time to revisit this crucial LP.

Suicide Squeeze celebrates Chastity Belt with the latest in its split 7" single series-a pair of covers by Friends of the Band and tourmates Kurt Vile and Courtney Barnett. For this release, Kurt and Courtney each recorded a song from the band's third album, 2017's I Used to Spend So Much Time Alone, in their signature styles. Side K is Kurt's version of "This Time of Night," on which he lovingly recreates the anxious interplay of Julia Shapiro and Lydia Lund's guitars, stretching each note of the song's fraught vocal melody to its breaking point. Flip the record to Side C for Courtney's take on "Different Now," where she pulls the song from its Pacific Northwest haze, leaves it out to dry in the middle of the desert, and wrings something almost joyous from the original's ambiguity. "This Time of Night" / "Different Now" will be available on vinyl and digital platforms, with a one-time retail vinyl pressing limited to 1000 copies on heavyweight aqua blue vinyl.

For the better part of a decade, LA's scrappy rock n' roll mystics Death Valley Girls have used theirmusic as a means of tapping into a communal cosmic energy. On albums like Glow In The Dark(2016), Darkness Rains (2018), and Under the Spell of Joy (2020) the band challenged thesoul-crushing banality of modern society and celebrated "true magical innite potential" through acollage of scorching proto-punk riffs, earworm melodies, far-out lyrics, and lysergic auxiliaryinstrumentation. But on their latest album Islands in the Sky, Death Valley Girls' songwritingmastermind Bonnie Bloomgarden uses the band's anthemic revelries as a guidebook to spiritualhealing and a roadmap for future incarnations of the self. And while these may be the loftiest aimsof Death Valley Girls to date, the resulting music is also by far their most infectious and celebratory.

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.

Cotton Jones "Tall Hours In the Glowstream" marks an exciting new chapter in the bands young career. While "Paranoid Cocoon" found the band lending itself to the occasional lengthy jam, Tall Hours_ finds Cotton Jones reigning in the songs, for a more succinct pop feel. The resulting sounds are rich and charmingly lo-fi, full of vivid imagery, gorgeous vocal harmonies and makes "Tall Hours in The Glowstream" the band's most accessible album yet.

Los Angeles punk quartet The Paranoyds channel revelry and revulsion into their debut album Carnage Bargain - a raucous blend of garage rock grit, new wave swagger, horror film soundtrack campiness, and a myriad of other influences. The Paranoyds' beginnings can be traced back to a friendship forged between Staz Lindes and Laila Hashemi in their teens. With the additions of Lexi Funston and David Ruiz, the band found the personnel for their sonic balance of jubilant energy and foreboding undercurrents. Carnage Bargain captures this chemistry through guitar-and-keyboard, genre-mashing weirdness on "Laundry," the fever-dream kitsch of B-52s on "Ratboy," krautrock's motorik groove on "Hungry Sam", and Blondie on the sweet-and-salty highlight "Courtney." Title track "Carnage Bargain" is a perfect example of the band delivering scathing lyrical observations under the guise of a quirky pop hook. The notion of rejecting the status quo and creating your own destiny is evident on the lead single "Girlfriend Degree," which the band calls an ode to "being a badass woman who's taking time to make sure she's doing things for herself." The band may be paranoid, but they offer a solution to our modern ills through the act of being an inspiring, independent, and unflappable force.

"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. Now celebrating its 10-year anniversary and first time in print since 2011, 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 it's 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 the 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 p...

To celebrate Minus the Bear's 10th anniversary, Suicide Squeeze willissue the band's earliest recordings on vinyl. "Highly RenedPirates," is Minus the Bear's rst proper album. Originally releasedin 2002, this edition is being remastered from the original tapes, forvinyl, by the legendary Bernie Grundman, the Hollywood-basedlegend behind many of the industry's landmark recordings. Theinitial pressing will be limited to 2000 copies: 1000 black(180gram), and 1000 `translucent' blue vinyl; each copy comes witha download coupon. A real chance to hear where this soundstarted...

For the better part of a decade, LA's scrappy rock n' roll mystics Death Valley Girls have used their music as a means of tapping into a communal cosmic energy. On albums like Glow In The Dark (2016), Darkness Rains (2018), and Under the Spell of Joy (2020) the band challenged the soul-crushing banality of modern society and celebrated "true magical infinite potential"through a collage of scorching proto-punk riffs, earworm melodies, far-out lyrics, and lysergic auxiliary instrumentation. But on their latest album Islands in the Sky, Death Valley Girls' songwriting mastermind Bonnie Bloomgarden uses the band's anthemic revelries as a guidebook to spiritual healing and a roadmap for future incarnations of the self. And while these may be the loftiest aims of Death Valley Girls to date, the resulting music is also by far their most infectious and celebratory.

Carolina Faruolo (ex-Los Bitchos) and Danny Lee Blackwell (Night Beats) had been friends and mutual admirers of each other's musical projects for years, though with Faruolo residing in the UK and Blackwell residing in Texas, their interactions were limited. Yet as was so often the case for many of us during the shelter-in-place stretches of 2020, geographic proximity wound up being a non-issue as our socializations became almost exclusively online endeavors. In this era of isolation and uncertainty, Faruolo and Blackwell invented their own private escape to Latin rhythms, colorful vistas, and smoky revelries under the project name of Abraxas. Combining their shared love of Wendy Renee, Los Destellos, doo-wop and R&B, they crafted their debut album Monte Carlo by bouncing ideas across the Atlantic. "Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls," Blackwell says of the muse behind Monte Carlo. "The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming." This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. "I remember the feeling I got the first time Danny added vocals to one of my tracks," Faruolo recalls. "I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us." Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell's work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee "Scratch" Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations. Monte Carlo opens with "Sunrise State (of Mind)," where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell's seductive vocals. From there, the album continues its steady Latin pulse on "Mañana," a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on "Sultan," through the dub-infected stomp and scorching fuzz of "La Estampida," and on to the Anatolian psych-funk of album closer "Göbekli Tepe."

If you can't trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt reflection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at Coma, her and her husband's home recording studio in Long Beach, CA. "You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on `reality,' especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character," Kugel says of her headspace leading up to the creation of Derealization. "Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song `Forgive Me' is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess." This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious "you." Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song's chorus, it feels as if she's conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much," as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't," an alluring walk through the winding road of lonely choices. The name for the project_Julia, Julia_is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning. Suicide Squeeze Record is proud to offer up Julia, Julia's Derealization to the world on September 30, 2022.

On Tail Swallower & Dove These Arms Are Snakes move through 10-songs with the cracked grace of bolted lightning, rolling and leveling, seeking a space to storm into. The band, comprised of Chris Common (drums, percussion), Brian Cook (bass, guitar, keyboards), Ryan Fredericksen (guitar, keyboards), Steve Snere (vocals, effects), have brought their non-stop work ethic of touring and beyond-intense performance to the studio with career defining results.

Over the course of their seven-year run back in the `00s, These Arms Are Snakes covered a lot of territory, both in terms of actual miles spent on the road and in terms of their creative bandwidth. Though the band was often mistaken for a typical non sequitur-named screamo outfit or another"animal" indie band, the Seattle group quickly defined expectations and garnered a reputation for subverting the popular underground sounds of time. The group cultivated a small but fervent fanbase across multiple continents with their signature combination of synth-infused noise rock, bad-trip psychedelia, flamboyant proto-metal boogie, and unhinged basement-show hardcore before imploding at the end of 2009. And while These Arms Are Snakes' full-length albums remain fitting testaments to the band's frantic urgency and stylistic fluidity, there is a treasure trove of deep cuts buried on b-sides and split releases that further reinforce their position as one of the weirdest and wildest acts of the decade. For the first time, those rarities and one-offs have been compiled into a cohesive overview of These Arms Are Snakes' lifespan on the double LP Duct Tape & Shivering Crows.

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 Goggs, 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".

Los Angeles punk quartet The Paranoyds channel revelry and revulsion into their debut album Carnage Bargain - a raucous blend of garage rock grit, new wave swagger, horror film soundtrack campiness, and a myriad of other influences. The Paranoyds' beginnings can be traced back to a friendship forged between Staz Lindes and Laila Hashemi in their teens. With the additions of Lexi Funston and David Ruiz, the band found the personnel for their sonic balance of jubilant energy and foreboding undercurrents. Carnage Bargain captures this chemistry through guitar-and-keyboard, genre-mashing weirdness on "Laundry," the fever-dream kitsch of B-52s on "Ratboy," krautrock's motorik groove on "Hungry Sam", and Blondie on the sweet-and-salty highlight "Courtney." Title track "Carnage Bargain" is a perfect example of the band delivering scathing lyrical observations under the guise of a quirky pop hook. The notion of rejecting the status quo and creating your own destiny is evident on the lead single "Girlfriend Degree," which the band calls an ode to "being a badass woman who's taking time to make sure she's doing things for herself." The band may be paranoid, but they offer a solution to our modern ills through the act of being an inspiring, independent, and unflappable force.

Where L.A. Witch's self-titled album oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across someunknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker "Fire Starter." The authoritative opener is a deliberate mission statement."Play With Fire is a suggestion to make things happen," says Sanchez. "Don't fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are...

REISSUE OF 2010 ALBUM.The music of Cotton Jones speaks of transition: the passage from one form, state of mind, style or place to another. Songs become doorways to the past, or windows that open on some unnamed future, where innocence can still exist and perfection is thrown to the wind.The Glowstream is a place centered between North and South Cumberland. It's not really called the Glowstream - just a stream that rolls to a dead end by the train tracks downtown. A place to sit, undisturbed in the cool shade, and see the interstate bend around glowing steeples, as cars and trucks break their speed - it's beautiful - how the city materializes, an oasis, after driving many miles through the mountains along I-68 - to this private spot, where it's possible to witness all the paces change.Michael Nau & Whitney McGraw skipped town months ago, leaving the old haunts in Cumberland behind... To sift through the old noise, they walked off the edge of their world... To sound the depths, the songwriters relocated, to Georgia, far south of the Glowstream."We spent a lot of time on the bank of that stream - alone, together, gathered like a flock of birds, examining the next move," said Nau. "Many of the tunes on this record feel like Cumberland to me. When I'm there, it's like a dream - all familiar sound and light, where the factories and birds sing the same song."The duo settled fast after the move, halted their incessant touring and festival appearances, and began the process of selecting a new cycle of songs to follow their acclaimed Suicide Squeeze debut, "Paranoid Cocoon."Cotton Jones, as always, rests in arms of Nau and McGraw. "Tall Hours in the Glowstream," is the title of their new album. Some of the songs that made the final cut were tracked in northern States, while the majority were recorded and mixed in Winterville, Georgia, as a revolving cast of players, thinkers, and singers were invited to hang in the band's living-room studio.The resulting sounds are both rich and charmingly lo-f...

Zorked (adj.) - what happens when you end up thunderbaked, as in extremely stoned-or in any situation where you feel not sober. You can feel so tired you're zorked. In fact, any state, so long as you're a little out of it, quali¬es. And Julia Shapiro, of Chastity Belt, Childbirth, and Who Is She? _ much like everyone on this earth with a pulse_was zorked on more than one occasion in 2020. In March, she packed up her things and traded Seattle's late-winter gloom for the perennial sunshine and seemingly endless opportunity of Los Angeles only to be forced into near-total isolation. With nowhere to go and nothing to do, she began working on her second solo album, Zorked. On the resulting batch of songs, we're given Julia's vision of Los Angeles: a wasteland melting in slow-motion, a place to commune with ghosts and warped legacies. Living within earshot of a man who spent his entire 2020 singing karaoke for over 10 hours a day, Julia could write, record, and play an album's worth of instruments without fear of noise complaints. Her roommate Melina Duterte (Jay Som) transformed their house into a viable home studio, making it easy to fully realize the sound in her head, even at the height of a global lockdown. Taking things a step further, Melina agreed to co-produce the record, pushing Julia to make these new songs sound less like Perfect Version, her ¬rst solo

+ Reissue Of Long Out Of Print Sophomore Album+ Lp Package Comes With A Double-Sided Insert + Dl Coupon+ First Pressing Limited To 1500 Copies Worldwide Onunite, Multiply, & Conquer Splatter Vinyl// You Often Hear People Talking About How A Certain Artist Saved Their Life. You Also Frequently Hear People Talk About How Certain Shows Can Be Borderline Spiritual Experiences. Sure, It Might Be Hyperbole, But Any Music Head Knows Those Experiences Are Very Real. And For Death Valley Girls, The Mortal Stakes And Transcendental Power Of Music Was At The Core Of Their Mission. The Band Quite Literally Began As A Haven For Vocalist/Guitarist/Keyboardist Bonnie Bloomgarden And Guitaristlarry Schemel As They Navigated Getting Clean From Hard Drugs. It Was A Kind Of Rebirth, An Outlet For A New Way Of Living. And With That Newfound Appreciation For Life Came A Thirst For Communal Celebration. Their Shows Took On A Mystical Fervor. They Were A Pure Manifestation Of All The Great Moments Of Rock N' Roll_the Adrenalized Swagger Of The Electric Pioneers, The Razor Edge Of Those Early Metal Masters, The Rough-Hewn Heft Of Rst-Generation Punk_with Any Hint Of Nihilism Swappedout For An Afrmation Of Life. Death Valley Girls' Sophomore Album Glow In The Dark (2016) Is A White-Hot Distillation Of Their Sound And Spirit_a Jittery And Jubilant Joyride Of Barnburner Guitar Riffage, Goosebump-Inducing Choral Hooks, Pounding Rhythms Provided By Drummer Laura "The Kid" Kelsey And Bassist Alana Amram, And An Overarching Aura Of Some Secret And Subversive Power. The Band Wastes No Time Detailing Their Strategies As They Crash Out Of The Gate With The Title Track. Bloomgarden And Auxiliary Vocalist Jessie Jones Issue The Song's Call To Arms_"Unite, Multiply, And Conquer"_as A Rallying Cry To Likeminded Souls. "Once You Realize That Money, Government, And This Whole System Is A Shitty Construct That Doesn't Work And Stands In The Way Of Our True Magical Innite Potential, We Start To Glow," Says Bloomgarden About Glow In The...

+ 2014 Debut Album - First Time On Vinyl+ Remixed & Remastered W/ Two Bonus Tracks+ Lp Package Comes With 11" X 17" Folded Poster + Dl Coupon+ First Pressing Limited To 1500 Copies Worldwide On Satan's Fingerprint Splatter Vinyl //With A Name Like Death Valley, One Would Assume Early Cartographers Were Actively Deterring People From Its Boundaries. It's Now Recognized As An Ecosystem With Its Own Unique Beauty And Wonder, Though It's Not Without Its Element Of Danger. That Landscape Is A Fitting Reference For La'sblazing Rock Troupe Death Valley Girls, Whose Particular Blend Of Garage Punk, Proto-Metal, And Communal Music Drapes An Air Of Occult Mystery And White-Hot Energy Over An Underlyingcelebration Of Life And Vitality. Their 2020 Album Under The Spell Of Joy Was The Clearest Distillation Of The Band's Ongoing Mission_creating A Sound That Was Both Riotous And Transcendental, Brimming With Positivity Even As It Navigated Dark Melodies And Rowdy Riffs. That Said, Death Valley Girls Felt Fully Realized The Moment They Appeared On The Scene And Never Lost Track Of Their Initial Daredevil Energy. Their Debut Album, 2014's Street Venom, Was Given Only A Modest Roll-Out Consisting Of A Small Run Of Cassettes, But The Songs Were So Infectious That They Continue To Be Staples In The Band'slive Set. For The Rst Time, Street Venom Is Receiving Its Proper Due With A Deluxe Edition Courtesy Of Suicide Squeeze Records. Death Valley Girls Began When Vocalist/Guitarist/Organist Bonnie Bloomgarden Moved To Los Angeles To Get Clean From Drugs. Figuring That Playing Music Would Be A Positive Distraction, She Put Her Feelers Out For Potential Bandmates And Was Eventually Introduced To Hole Drummer Patty Schemel And Her Guitarist Brother Larry. Bassist Rachel Orosco Was Brought Into The Fold Soon After. "We Spent A Year Messing Around And Jamming `Cause We All Needed To Play And Have Something Safe To Do That Wasn't Aa," Bloomgarden Says Of The Band's Infancy Stage. Not Wanting To Land Showsonly Off The Meri...

Your phone, your TV, your computer - who (or what) is watching you? It's an oft-asked question in the digital age, and one that The Paranoyds echoed when it comes to the origins of their name. Part of a generation immersed in oversharing and ease of surveillance, The Paranoyds know better than anyone, it's scary out there. But the band's fearless pursuit of a good time won't stop them from crafting the kind of gritty, Southern California garage rock that refuses to hide.

The Paranoyds' debut release on Suicide Squeeze offers a taste of what The Paranoyds have been crafting. The Los Angeles four-piece of Laila Hashemi (keyboardist-vocals), Lexi Funston (guitars/vocals),Staz Lindes (bass/vocals) and David Ruiz (drums, vocals) share a mission to craft songs with the gritty spunk and dark playfulness of a cult-classic splatter film. "Hungry Sam" is a binge-worthy feast of chugging guitars and belly-rounded drums. B-side "Trade Our Sins" is a cautionary slowdance fit for the end of the night or the end of the world. 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.

Parasite kicks off with the title track, a rowdy throwback to a younger, angrier
incarnation of the band. Crafted in the wake of the election and during a tumultuous
period in the band members' private lives, "Parasite" is pure catharsis. "During the
making of our last album, I didn't want to scream anymore, I just wanted to sing and
focus on melody. When we came to this recording, I just wanted to scream and
curse," says guitarist/vocalist Julia Kugel. If the EP is meant as a journey through the
various stages of the band's career, it certainly storms out of the gate with the same
kind of piss-and-vinegar of their eponymous debut. And while "Wipe Out" is another
rowdy venture, with bassist Meredith Franco taking over the lead vocal duties over a
steady barrage of pointed power-chords, it also showcases the rousing choruses that
elevated the trio from underground heroines to an internationally renowned garage
act. Despite the adverse times, The Coathangers' mastery of pop cannot be contained
forever, as is evident in the EP's single "Captain's Dead", with its sultry verses,
triumphant chorus, and a bombastic freak-out of noisy guitar. The journey through
The Coathangers' musical evolution leads to a revamped version of "Down Down" off
2016's Nosebleed Weekend LP and the smoky twang of "Drifter", in which
drummer/vocalist Stephanie Luke demonstrates her knack for solid Dusty Springfieldstyle
ballads.

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 inJanuary 2007, and we were rehearsing, playing local shows, and collaborating, with most of usinvolved 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 songwriterbehind 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 ofpeople around; 6P7 and GMV players coming and going from the Saint Ledger House. There werehandles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. Weall went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productivethe following day. Chalk that one up to relative youth. Over those two days, songs were cutwithout any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seemsinevitable.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 bothvocal 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 inour catalog written/arranged by Tim Gerak. This song would have been developed on ourfollow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in...

"...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." - PITCHFORKSuicide 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.

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.

2xLP 180 gram Bone Vinyl.Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited second pressing of 1,000 copies on 180g black vinyl and includes a download card for MP3s.

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.

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.

Octubre may be a record about unhealthy infatuations and debilitating love, but it's also an inadvertent statement on the past and permanence. Originally offered to the world as a surprise digital release, it might suggest a kind of ephemera, but the underlying motive is to reinvent and bring a new life to these seminal songs from the band's early years. Reimagined and reshaped, these songs not only represent the band's beginnings but also serve as a teaser for the band's future output.

The mid-'90s were an interesting time in Seattle. The city had just experienced its brief period in the rock n roll limelight, but it was still a lonely outpost in a largely ignored corner of the United States. Touring bands were reluctant to make the trek up from San Francisco, or across the mountains from Denver, or from across the Great Plains from Minneapolis. There were barely any all-ages venues to play in town. Bands like Modest Mouse and 764-Hero helped fill the rainy void with a relentless schedule of writing and playing out. That creative thirst and no-one's-watching mentality prompted a lot of artistic exploration and experimentation, a phenomenon best captured on the collaborative single "Whenever You See Fit". Marrying Modest Mouse's jagged blowouts with 764-Hero's pensive songwriting, the track slowly came together over the course of a tour together, with the bands taking the stage together nightly and dueling over a few fleshed out chords. The resulting 15-minute marriage of sparse pop and guitar sturm-and-drang perfectly captured the wistful artistry and punk turbulence of Northwest indie rock at the close of the century. As part of their 20th anniversary celebratory series, Suicide Squeeze is proud to offer a vinyl repress of "Whenever You See Fit" with updated artwork by esteemed designer Jesse LeDoux. The 12" single-also featuring remixes by DJ Dynamite D and Scientific American on side B-is limited to 1000 copies on half blue and half yellow wax, includes a download coupon, and will be the first time the record has been available on colored vinyl.