various artists - Stones Throw And Leaving Records Present: Dual Form

A tip from me to you, my dear reader: If'n you have an animal you mind, and you are planning on making a move to a new locale, I would highly recommend either sending your beloved dog/cat/parakeet off to a spa, or queuing up something mellow to soothe the savage beast.

So it was that I ended up putting this on while the missus and I packed away/threw away eight years' accumulated detritus. Madam Mummy wanted to know how I landed on this. I told her, "I trust Stones Throw, and it had Julia Holter on it." Then she asked me how I knew Julia Holter. My response was that I probably discovered her when I confused her with Jenny Holzer.

This one's available digitally through the Stones Throw website. I make no promise that you'll find it as relaxing as I do, but you'll feel good supporting L.A. area artists with a little dosh.

Discogs

Click here to download.

various artists - Main Sounds (15 Tracks Of The Month's Best Music)

I don't typically fuck with Uncut Magazine. And the price I paid for this reflects what I gather is most folks' interest in the content here. One measly cent American, plus a nominal shipping fee, was all it cost. With all apologies to most of the performers herein, there are only a few cuts here worth that copper.

So, who did I like? Those kids in Rolling Blackouts Coastal Fever are pretty great, although that wasn't in question before I copped this. Same goes for Sharon Van Etten, whose music I realized I've been casually encountering for a decade and a half. I wasn't familiar with cellist Layla McCalla's background initially, but it's been nice seeking out the catalog of this former member of the Carolina Chocolate Drops. Finally, the Quebecois trio Cola were a nice surprise coming towards the end of the 15 tracks contained herein. They had a real "Tuesday night touring band" vibe coming off their track; with a new record that came out in June, they made my list of Bandcamp Friday pickups for December.

Discogs

Click here to download.

various artists - Macro Dub Infection Volume One

Before I fanboyed out of Lee Perry and King Tubby and Scientist, this was what I thought of when I thought of dub. Less associated in my brain with reggae at that time than as a confluence of many branches of electronic music, I was more familiar with Bill Laswell and Spring Heel Jack at that time. And "Macro Dub Infection Volume One", which I first encounted in the back pages of my buddy's CaseLogic binder, is the key reason why.

I love how broadly defined dub is here. This is a distinctly British endeavor, featuring names like Mad Professor, Laika, 4hero, and the Disciples. The Yanks make a couple of appearances: it's the first time I ever heard Tortoise, and Laswell performs under his illbient Automaton banner. This was also probably the first time I had come across Tricky. "Maxinquaye", "Nearly God", and "Pre-Millenial Tension" were such huge records for me in the late 90s, and this was my first exposure to his genius. There are even surface outliers like COIL and Scorn present, though a dive into their tracks provides the context that, yeah, they belong here.

Released on Virgin in the UK and Caroline in the States, it was nice turning up a copy for $3 at Value Village over the summer and nudging me to really dig back into my mid-90s electronic collection. And apologies for any stray tagging here; I would have gone back and corrected with a fresh upload, but I also downgraded my copy on my hard drive to a 128kbps version and stored the CDs. And most folks I know would trade incomplete tagging for a high sample rate.

Discogs

Click here to download.

various artists - New York Ear And Eye Control

Well, it's another stupid Monday. And far be it for me to mislead you, my valued reader (there are dozens of us!), so early in the new week into believing you're getting the 1966 ESP Disc landmark free jazz recording. No, you're getting the spiritual successor, released a quarter century later by the nascent Matador Records.

This one doesn't feature Albert Ayler or Don Cherry. Instead, you receive the likes of Unsane, Cop Shoot Cop, Royal Trux, and Railroad Jerk, along with more experimental sounds from Steve Fitch, Borbetomagus, Circle X, and OWT. This ultimately reads like a late-period Homestead release, which makes sense, since Cosloy probably conceived it in his last days running that joint.

It took me roughly (counts on fingers) 28 years from the first time I heard this to actually buy a copy, probably because I spent my 20s thinking Unsane was the only band here worth a shit, my 30s chasing different comps, and a fair portion of my 40s just looking for steady work. Like adult acne, some issues take a long time to clear up. 

Discogs

Click here to download.

various artists - Ugly Music...For Ugly Minds

Another Sunday has come, and I have nothing in the queue, so let's fall back to an old favorite.

Relapse has ALWAYS had samplers worth holding onto. There are bands who I've never owned a record but, yet I can still still recall the samples used or the opening blast beat or riff from their track on "Spectrum Fest" or "Fast Forward" or "Contaminated". These led to my first exposures to Merzbow, Human Remains, Repulsion, and Benümb. I'm lucky that it expanded my mind and didn't melt my brain.

"Ugly Music...For Ugly Minds" finds Relapse celebrating its Sweet 16 with the sort of eclectic roster that we'd all come to know and love by that point. There were doom metal pioneers Pentagram, label mainstay Bongzilla, soon-to-be-major-label-megastars Mastodon, and the late, great Nasum; all names well known in the metal underground. But there were also contributions from also long-time Pittsburgh math rockers Don Caballero, Seattle thrashers Zeke, and techy instrumentals from Dysrhythmia and Zombi. There's an obligatory Dave Witte appearance in the form of southern "supergroup" Birds of Prey. In all, it's 19 tracks worth of the sort of sounds that are still well worth the $5 or so I'm sure this retailed for.

Discogs

Click here to download.

various artists - Sides 1-4

Allow the cheat on this one; I am not the original ripper. although I have faithfully owned a copy of this for almost as long as it's been out. You can get a download or physical copy here from the very good folks at Skin Graft, and you probably should.

It's time to share my two cents on Steve Albini. So you get two posts in a day.

When this double 7" came out in 1995, I knew Steve Albini mostly from his engineering and his criticism. I was aware he had done a band with a couple guys from Naked Raygun in the 80s, and a band with a pair of fellas from Texas in the early 90s, but THIS was Shellac Number Seven, and my intro to them musically was a cover of Bon Scott-era AC/DC. Which kinda hurt my head, but also I dug in a huge way, even though I never got into AC/DC with the same enthusiasm as a bunch of the dudes I went to high school with. Anyway: cool intro.

But I worked backwards as time moved forward, as Steve's fingerprints continued to leave marks all over my taste. I bought a copy of "The Rich Man's Eight-Track Tape" at the same time I bought "Terraform", all the while discovering his recordings of Pussy Galore, Boss Hog, the goddamned Jesus Lizard. I had heard rumors that Fugazi went out to Chicago to record with Steve, only for his recording of "In On The Kill Taker" to get memory holed in favor of a Don Zientara engineered/Ted Nicely produced record. You knew I spent at least a dozen years trying to pin down a copy before a kind friend finally scored me a 4th generation dub. By the time "1000 Hurts" came out, I was a bona-fide fan, absorbing whatever wit and insight I could find in the pre-internet days from yellowing Forced Exposure reviews, and, in the instances where he'd own up to it, treating an Albini credit on a record as much a Seal of Quality as the Dischord logo or the Impulse! livery.

I discovered he could be a real prick, and sometimes cruel in the service of humor, but who amongst us isn't when we're 19 or 25 or 33, opinionated, sharing our thoughts publicly in a way so easily referenced. But more often than not, he was right. He, like all the best of us, held, demonstrated, and demanded a strong moral compass. He worked hard not to get in the way of other people's art, but, rather, tried to elevate them in the ways he knew how. His life was a great example that you could lead an ethical and intentional life, that you could also acknowledge your previous failures with grace and accountability. There are a few of these influences in my life; I rarely met them, but I appreciate the example they set, one that I strive to follow.

I've been discussing the loss of leaders a lot recently. People around me continually lament the death of those who become our North Stars, our cultural compasses. "Who will fill their shoes?" they ask. I'm sure as shit not going to record a "Magnolia Electric Co." or "24-Hour Revenge Therapy", but I cqn live an ethical life and help raise others up. This world can be shit a lot of the time, but it doesn't have to be that way. Thanks to Steve Albini for reminding me of that every single time his work crossed my path.

Discogs

Click here to download.

various artists - Manchester: So Much To Answer For - The Peel Sessions

Here's to all who are left standing after the great Zippyahare defuncting of 2023. And to those we left behind. You brought us Trojan rarities, world music I'd never otherwise discover, the rarest of KBD 7"s, and Peel Sessions galore.

This one's for y'all.

Discogs

Click here to download.

various artists - Supersonic Sounds from the "Fuck You" Movement

When I was a wee slip of a youth, full of piss and vinegar but still discovering myself and what my taste was, I picked up a comp tape from the counter of the local Record & Tape Exchange. I think I snagged it because one of my classmates' bands had a pair of songs on it. Very heady stuff at the age of 16...I knew people who made records!

It was all Roanoke bands, circa 1992-94, and while I've misplaced the tape, and no one's every listed it on Discogs, it was the first time I'd heard Swank, a ska-punk band of some renown who'd eventually put out a pair of recordings on the pre-Fall Out Boy version of Fueled By Ramen. It was also the first time I'd encounter Suppression, local audio terrorists who broke my brain more than just a little bit. How the hell was I supposed to get anything out of the Dave Matthews Band or Metallica or the goddamned Red Hot Chili Peppers when I'd just gotten my first sip of grindcore?

I wasn't aware of it immediately, but Suppression had a label they self-released on called Chaotic Noise Productions (C.N.P., as the literature goes). And while I never targeted their records, I ended up with more than a few over the years. From early cassette releases like the Cripple Bastards comp and the Agoraphobic Nosebleed demo to something more recent like the "Eardrill" comp tape, I'd cop something because I heard it'd be strong and extreme, I'd open it up, get my mind melted, then see that mailing address of Roanoke, then late Richmond, VA.

This one came out in 2001, during what might be called "the middle period" of C.N.P. The only release from the label that year, it's a goddamned cacophonous comp, featuring a bunch of noisy motherfuckers just going for it. When the most conventional track comes from Charm City Suicides ("covering" Reagan Youth), you know you're in for something nearly opposite a Def Jam street sampler or the current NOW! comp. There's a pair of Kojak tracks, a quartet of Suppression cuts, a little something from Bastard Noise that clocks in at (checks track length) 9 minutes?!? There's a monkey man making a man monkey suck his banana on the cover. This isn't for kids, ya know?

One last anecdote: P.C.P. Roadblock contribute three songs here, just one of a handful of appearances they made on aluminum, wax, or magnetic tape during their existence. I don't recall the other bands on the show, or even the instigating circumstances, but I remember them playing the most antagonistic set I've ever seen in my life at the old Ottobar, ending with at least two band members getting kicked to the floor during their set, and a Rubbermaid trash can getting lobbed at them. There's nothing really to take away from that, other than to note that's what you're getting yourself into here.

Discogs

Click here to download.

various artists - Live At The Knitting Factory, Volume One

I picked this up the other day for the following reasons:

• It was $2, and I already had a $2 CD in my hand. I feel weird spending less than $5.
• The Knitting Factory was, in my adolescence, this magic place where the cutting edge of music played every night.
• I saw Tom Cora played on a couple tracks. Tom Cora made some records with the Ex.

It turned out, this was a pretty good snag. The first of five volumes of live cuts from the NYC venue released by A&M Records, this one captures performances from the winter of '88-'89. I dig it.

Boring-ass cover on the US releases, tho.

Discogs

Click here to download.

various artists - Manifestation VII

A lot of people will tell you that you need to have experienced Manifestations 1 through 6 to truly understand Manifestation VII.

I say, just dive right in. You'll still get plenty out of this regardless of context or history.

Discogs

Click here to download.

Alan Vega - New Raceion

It's the end of the month, and I'm clearing the decks with the record that's been living in my Mediafire files for the longest time. It's time to share Alan Vega's 1993 album, "New Raceion".

At the risk of seeming like a dick, I've run out of things to say about Vega's early 90s output. I'm glad it exists; it's not anything I listen to regularly (unlike the 1st Suicide record). Here you go; "enjoy" it.

Discogs

Click here to download.

various artists - A Slice Of Lemon

There's a dude in my NAMI Connection group who started attenting a couple of sessions ago. And of course I noticed him because dude showed up in a denim vest with no less than 40 metal pins and patches affixed. This is not Maryland Death Fest, bullet belt, crusty/grind/doom vest either; it's a pretty straightforward reckoning of the past 40 or so years of metal. Everything from Nuclear Assault and Venom to Motorhead (fuck it, I'm not looking up the hotkey for umlats) and Anthrax. Nothing super cvlt, which I respect.

So, of course, we've started chatting a bit about music, and I think I want to bring him a flash drive with Void and Septic Death and Excel and Hirax on it, just so he can get where I'm coming from. In the course, he asked me what I was listening to recently. So I told him about this.

In short, "A Slice Of Lemon" was a two-disc compilation co-released by Kill Rock Stars and Lookout! Records back in '95. I'm pretty certain I snagged it in my first mailorder from KRS, along with "Pussy Whipped" and (maybe) "These Monsters Are Real". If you want a sample of where things were on the West Coast of North America (with some exceptions, obvs), then look right here. The stand outs on this back when I got it were my first exposures to Elliott Smith, Pansy Division, Excuse 17, and the Peechees; all of which I still listen to 27 (!) years later. There are a few cool one-offs here, too. Gashly Snub is a Melvins spin-off band featuring Dale Crover. Shaken 69 is 3/4 of Operation Ivy along with members of Skankin' Pickle and the Uptones. Even the most obscure bands contribute memorable cuts.

To be perfectly honest, I typically skip the Mary Lou Lord track at the end of disc 2. She just never did much for me.

Discogs

Click here to download.

Alan Vega - Power On To Zero Hour

The second of four Alan Vega reissues on Infinite Zero, this has, throughout time, become probably my favorite of his solo records. Those ideas that felt less developed on "Deuce Avenue" feel fully formed on "Power On To Zero Hour". It's him, Liz Lamere, and 10 songs worth of pre-Guiliani NYC ugly beauty, all gospel organs and soft hiss and dark songs.

It's a great record for a grey Monday.

Discogs

Click here to download.

Alan Vega - Deuce Avenue

It's possible that it took me a long time to explore Alan Vega because this was my first exposure to him.

"Deuce Avenue" is a weird record, a melange of slithering Suicide-style synths, Vega's free-form scatting, crooning, and beatboxing, and drumming and programming by his wife Liz Lamere. Shit, there's definitely time where Vega's channeling the Bomb Squad's beats. He hadn't made a full-length since "Just A Million Dreams" in 1985, a much more accessible record by any measure. This one came out on the French label Musidisc, his home for this and his following three LPs.

Infinite Zero would reissue it in 1995 to what I have to guess was an indifferent scene, alongside Vega's next record, 1991s "Power On To Zero Hour". I was non-plussed at the time; I'd been given an Infinite Zero sampler with "Jab Gee" and "Bad Scene" on it, and, BOY HOWDY, I almost always skipped over those tracks. I just didn't get it. Now, I can listen to this, and I can draw parallels to the Providence noise scene on the early aughts, to the J.G. Thirwell catalog, to all the iconoclastic shit that finds its way onto my iPhone. It clicks with me now in a way that just couldn't happen 26 years ago.

Fun fact: the Infinite Zero reissue wraps up with the only complete version of "Wacko Warrior" by Vega, previously only available in a truncated form on a 7" that came with Sniffin' Rock #12. So completists...have at it.

Discogs

Click here to download.

No Stagediving

The best laid plans of mice and men called for an in-depth, last Bandcamp Friday of 2020 blog, detailing all the stuff on my wishlist that I'd spend money I don't really have on, all in the name of supporting the little guy.

And then I took a nap after work, laid in bed with my wife, watched "Bob's Burgers" and ate too much Jack in the Box. What I'm saying is, I turned into a real turd this evening.

So I'll limit comment here to an ongoing project supporting artists from Baltimore and organized by the team at the Ottobar. Readers here know I'm an Ottobar alum, having worked the door, mopped the floors, backed the bar, and played the stage. From its first location on Davis St., to its present haunt at 26th and Howard, it was my spot until I split town in 2014. Even still, it's where Mrs. Ape and I will plan to meet friends for a drink should we ever make it back home.

Organized by Jerrod and Steve, and backed by Tecla, Todd, and Dana of the Ottobar's management, "No Stagediving" is a two-volume, 106 track collection of Baltimore past and present, grouped solely by having appeared onstage at 2549 Howard St. Some names, you'll already know: Future Islands, Dan Deacon, Lower Dens, and Wye Oak. Baltimore punk, hardcore, and emo also represents, with 90s groups like Cross My Heart and Daybreak mixing with current leading lights like War on Women and Truth Cult. It's one of the few surveys available covering any sort of historical swath of Baltimore hip-hop, as Labtekwon, Rye Rye, and Soul Cannon all turn up. If it's played that stage, it's probably turned up here.

Each collection is a $10 donation and, as happens every Bandcamp Friday, all proceeds go to the bar and bands. Get into the City that Breeds.

Bandcamp

The Soft Pink Truth - Do You Want New Wave Or Do You Want The Soft Pink Truth?

When he's not teaching English at Johns Hopkins or making sounds with legendary noise/musique concrete/electronic duo Matmos, former Louisvillan and Slamdek alum Drew Daniel transforms the sounds of our youth in his The Soft Pink Truth project. I tripped, dingus first, on this CD while bin-digging a few weeks back, and grabbed it based on label (Kid 606's Tigerbeat6) and price (50 cents). The cover was just...icing on the cake. Also, maybe I thought the title was "Soft Pink Turds", which is perverse and just what I'm looking for in a mystery recording.

And what did I get? It's techno adaptations of classic punk, hardcore, and new wave songs, along with a Carol Channing standard from the 1974 musical "Lorelai". Vicki Bennett (People Like Us), Blevin Blectum, Dani Siciliano, and Matmos bandmate M.C. Schmidt all take turns on the mic. There are covers of Crass, Minor Threat, Nervous Gender, and a version of Die Kruezen's "In School" that just melts like a steel beam covered in jet fuel. All of it leads to my conclusion that there should be more house/hardcore homages.

Discogs

Click here to download.

various artists - Keats Rides A Harley

Nothing big going on today, right?

I went out to pick up food, prescriptions, and #0 mailers yesterday, and made a quick lil stop at a thrift store along the way. It's rare that I don't find something cool there, and this visit was no exception. There was a copy of this live U2 fan club release, a copy of the "Stand Alone Complex" soundtrack, and a couple of other things I'll end up putting up for sale online. Not a bad haul for $2 a CD.

But the find...THE FIND...was a reissue of one of those early 80s comps I've heard about for years and years, but never seen in real life until yesterday. "Keats Rides A Harley" originally came out in 1981 on the Urinals' Happy Squid Records. Hell of a lineup for 1981: the Gun Club, the Meat Puppets, Leaving Trains, 100 Flowers, and Toxic Shock (who became Slovenly) all appeared on this comp of SoCal (and one AZ) outsiders. It's not a particularly rare record; in the liner notes for the reissue, it's said that 2,000 12"s were pressed. But I'd never come across the LP or the CD reissue until now.

The reissue came a quarter century later, courtesy of Warning Label in Massachusetts. It was a wide expansion of the original record, with a second cut from each band on the original comp, as well as the first ever reissue of 1980's "The Happy Squid Sampler". This addition is cool for its additional Urinals song, an early iteration of Trotsky Icepick, and this really weird synth cut by Phil Bedel. It is, as one of my British friends would say, "a mad curious sitch". I appreciate its strong weirdo punk vibe; so different from what I'd anticipate hearing if I was handed another punk record from 1981.

This is the part of the blog where I'd tie everything I've just written with what's happening in the world today. All I have to say is, if you're an American and registered to do so, go vote today. Stand in line for a few hours. Tilt at the windmill that is our political system. Do it because it's one of the few choices you still have left. Like Ms. Apple once said, "This world is bullshit." Go with yourself. Be a goddamned oddball and make something happen, even if the results aren't immediate. Who knows? Maybe forty years later, someone will write about the little thing you did that had a real impact. Like a record, like a vote.

Discogs

Click here to download.

Re-Re-up: Sweep the Leg Johnny - 4.9.21.30

(Re-up, June 2020: this is one of the first things I ever wrote for this blog [if not the first]. It's possible I re-bought this on vinyl last year just to have a vinyl copy.)

So I'm dating this girl. She's a riot grrl in 1997, so that should tell you something right off the bat. Or maybe not. But she & I get along swimmingly. We both live about 15 minutes from the Pennsylvania border in Maryland. We have a lot to do, but we spend most of our time making mix tapes for each other, hoping on the hood of my Grand Prix and shouting "Anarchy" and going to DC for shows. After all, the Ottobar was newly open, Memory Lane was a distant memory and the only thing Fletcher's was good for was the occasional H2O show.

She & I drive into DC to see Sleater-Kinney for the first time. We trek down to the old Black Cat, me terrified someone is going to break into the Grand Prix. It's probably the month "Dig Me Out" comes out, so we are fucking down for the show. I think Versus opened. Wow, they sucked. I'm not feeling it at all. Neither of us is legal drinking age, and if memory serves, there was no re-entry that night, so we both hawk the merch stand, furiously puffing cigarettes like only 20-year-olds can. (Now that I think about it, maybe it was 1998. I definitely seem to recall drinking a beer.) (But I digress.)

We end up behind the soundbooth, trying to talk over whatever P.A. music happened to be on. She had seen a flier for Fugazi's annual Fort Reno show, and we quickly made plans to attend. The music changes on the P.A. A marching band beat quietly plays. A guitar drops in for 8 bars, maybe 12. Then...fury.

"What the fuck is this?" I ask her. A shrug. Stop. Start. Weird time signatures. Whispery vocals that barely raise over the driving rhythm. For a kid raised on harDCore and John Coltrane, this was a revolution. "Seriously, have you ever heard something like this before-" and then I'm cut off by this skronky saxophone. And Mr. Whisper is hollerin' over the beat, and I really want to break a window out. That's how tightly by the throat this track has grabbed me.

I lean in to the soundguy. "Sorry to bug you, man," laying on my best impression of a hipster. "What is this you're playing?" "They're called Sweep the Leg Johnny. I think they're from Chicago or something." And that was the first time I heard Shower Scene.

I got to see Sweep live twice: once at the Ottobar, on a bill with Yaphet Kotto, the Exploder & League of Death; and out at the last Michigan Fest, where they were one of three reasons I drove halfway across the country for a show. I've heard them described as math-rock, but they always struck me as a little too aggressive for that tag.

Enjoy the reason I started this blog.

Discogs

Click here to download.

Lungfish - live at the Empty Bottle, 5 December, 2003

Photo by Pat Graham

If there's a recurring theme to this blog, it's "I took way to long to get into this band/movie". As someone who was a Baltimore resident during most of their heyday, there's no excuse, other than the dipshittery of youth, for me not having gotten into Lungfish sooner.

There's really no excuse: I was already a fan of what Dischord was putting out, and I got a promo of "Sound In Time" for my radio show when it came out in 1996. They opened for Fugazi at the Steelworker's Hall out by Dundalk in 1998, but I stood outside during most of their set, smoking and being tres punk. I'd seen Pat Graham's photography of the band for years, and despite the amazing visual story those images told, it took until their 10th record, "Love Is Love", for something to click for me. By the time they'd gone on hiatus, I'd only seen them that one time, and not even really watched then.

Which is a shame, because what I didn't get in my twenties has become an obsession as I've aged. In one sense, I get it: I had no context under which I could appreciate their post-, post-hardcore experiments. I genuinely tried to rectify that mistake by diving into their entire catalog. My preference is for later-period Lungfish; I love taking a long drive to "A.C.R. 1999" and companion release "Necrophones". There's a tactile nature to the music; the lyrics, delivered like a revival preacher. I feel something very primal when I listen to Lungfish. It stirs me as much as any Coltrane record, any Morricone film score.

I originally downloaded this 2003 set from the team at [shiny grey monotone], which should be on your blogroll if it isn't already. Since the link has expired, I think it's pretty fair (with appropriate credit) to repost it here. This dates from their tour immediately following the release of "Love Is Love", and I think is a pretty decent representation of their work, and gives just enough sense of their live show to make you wish they were still playing out. In a less wordy statement, let's let a quote from [sgm] sum it up:

It is fucking scary. Like an angel telling you shit you know is true, but can't understand.

Fair play, Ipecac. Fair play.

Click here to download. 

This Song Is A Mess But So Am I - Church Point, LA

I haven't thought about this record in 15 years, but I saw it between This Mortal Coil and Thomas Jefferson Slave Apartments in my iTunes, so I gave it a whirl. It helped me recall a few things about this period: I booked Freddy on a bill that included Dan Deacon's first club show in Baltimore; I got super into experimental pop after hearing this record; I'd ride my bike up Calvert St. at 3 in the morning listening to this on my last Walkman, watching the sex workers on each corner fidget and adjust themselves between propositions.

This is an unpleasant, unhappy recording that, performed live, proved to be gripping. There's so much sadness and pain here that it feels like the room got darker as I listened to it. It's also painfully honest and young, which may be why I enjoyed it as much as I did, and why I dug revisiting it. "Church Point, LA" is an interesting synthesis of industrial/EBM, pop, and emo that would be representative of that whole Not Not Fun Records scene from the early aughts. I recommend a spin.

Discogs

Click here to download.