This poster measures 14 x 19 inches and features:
Spruce up! Look sharp! And check out Fred’s poster here!
This poster measures 14 x 19 inches and features:
Spruce up! Look sharp! And check out Fred’s poster here!
Surprise Kicking Giant reunion set at my art opening.
Land Gallery, Portland. September 6, 2013.
Tae is the coolest. Check out more Kicking Giant here!
Back in stock! HYSTERICS - Can’t I Live 7” (M’lady’s)
Can’t I Live is the second vinyl release by Olympia (and Seattle) band Hysterics. I remember seeing them on one of my first trips to Olympia over 4 years ago when they were just starting out; even then they were definitely the kind of band that would get stuck in your mind, they leave a strong impression, and now they are totally killing it!
Stephie (vocals), Adriana (guitar), Jessica (bass) and Shannen (who drums on the record but is being replaced by Matt for tour) are out on a mission to conquer and destroy the current music scene. Re-inventing hardcore, shattering eardrums everywhere and actually SAYING something, this band is fierce. “This is the sound of the new breed”, touts M’lady’s. “…get thrashed!”
Six insane HC blasts, 1981-style, Wilson Center-style. The sound of total dissatisfaction.
What did Stephie say this afternoon? “If you’re looking for a shtick, look elsewhere.” These E.P.s are gunna kick your ass.
Phil came by the K Warehouse today to chat, check things out and model the new K Records bandanas! A back pocket has never looked so good. And I’m totally digging those cornflower blue socks.
Pret-ty adorable. Don’t ya think?
More from our friends & neighbors: Milk Music - Beyond Living CD/LP
New IMPORT CD with bonus tracks from the “Violence Now Demo”
Milk Music is not only the name of a new Samsung application (for now…) but is also (and originally) a unique, thrashy and rather popular band (rightfully so!) that originated in Olympia, Wash.
“Milk Music sound like they crawled off a mid-1980s SST cassette comp. Unlike the bands most associated with that classic punk label, though, there’s a distinct mid-1990s lo-fi Pacific-Northwest vibe to their unwinding guitar solos and vocal howls. The Olympia quartet of 24-year-old singer/guitarist Alex Coxen, his brother Joe Rutter (30) on drums, bassist Dave Harris (32), and guitarist Charles Warring (27), have a knack for slacker anthems wrapped in a vintage analog haze. Washington State and its history are clearly essential to Milk Music. And when I spoke with Coxen recently, he talked fondly about coming of age in the peninsula hamlet of Port Townsend and repeatedly situated his band in the current Olympia scene. ‘We’re off the beaten path,’ he said proudly.
Milk Music's songs come with a heart that can't be learned or faked: On first listen, last year's six-song, 21-minute Beyond Living EP feels like a long-lost favorite. Fittingly, the group’s overall approach (and aesthetic) is also reminiscent of the Dinosaur and Meat Puppets tapes I listened to on the boombox in my secondhand Chevy Impala in the 1990s.” (Brandon Stosuy, Pitchfork; read more here)
Beyond Living has been available from Perennial Records for some time now, but is now being re-released in convenient compact disc form with the inclusion of the tracks from Milk Music’s “Violence Now Demo”, which has long been exalted as some of the band’s finest work (and maybe even their best…?). If you haven’t heard this band or album already, here’s your chance. And if you already have their vinyl LP sitting on your home stereo, it’s time to pick up a portable copy for your car. Trust us. The pedestrians will be pleased. (And you can always rip it to your computer…?)
Also available: Milk Music - Cruise Your Illusion LP, ripping everything to shreds
Criminal Code from Tacoma, Washington, play an anthemic, sneakingly melodic mixture of post-punk and post-hardcore. Formed in 2011, they’ve just released their debut LP No Device on Deranged Records, a welcome shot in the vein (or kick in the teeth) to an increasingly ethereal genre.
The K Mail Order Department is seriously stoked to present this latest LP from our friends and neighbors. Straight from the Northeastern wreckage of T-Town come Criminal Code:
Criminal Code’s first proper long-player deals twelve tracks of technical precision matched with brickwall power. There’s a barbaric impulse festering in the twisted hearts of this Tacoma threesome, but No Device unfurls with dynamic tact and structural intricacy, sating its every aggressive urge with surgical attention to detail. With a stark palette of grizzly grays and off-white stains, Criminal Code details a singular spectrum of punk both bleak and savage. Naturally, the hardcore camp digs it because No Device extracts maximal strength from a few instruments in a minimal amount of time, but taut brooding snaps into serpentine guitar leads on enough songs for your death punk beholden to break off a piece. At any rate, Criminal Code tears down your descriptors and brings its own on No Device. A fiercely present, assertive album that dictates its own terms, listeners will find their go-to snappy little tags utterly inadequate and reductive. In the age of vaguely negative-wave nouveau and post-punk pastiche, Criminal Code is a colossal outfit casting its own long shadow.
No Device harkens back to the raw, stripped down and primal intensity that characterized the early days of post punk, back when it was still considered just punk, only punk that was a little off and slightly more unsettling than usual. Criminal Code straight rip and rock with an urgency and rabid junkie unpredictability that was traded in long ago when post punk started investing wholeheartedly in synthesisers and chorus pedal collections and diverting down broodier pathways to goth and whatever-wave.
That isn’t to say that Criminal Code have forsaken all of post-punk’s preoccupation with subtlety and atmosphere, it’s just, for lack of a better word, more subtle than the usual midnight fog of chorus and bed of synthesiser shimmer. Throughout No Device chorus is used only as the slightest colouring on the already unsettlingly atmospheric guitar work, which switches on a dime between serpentine melodies, angular, trebly chord-work, and bouts of harsh dissonance, and unless I’m mistaken, there isn’t a synthesiser in sight.
Criminal Code’s drummer crashes with a force more befitting a hardcore band; there’s no mistaking these beats for a drum machine. Likewise, Criminal Code’s vocalist eschews the standard pallid moaning and mono-baritone for a full throated roar with a faint but pervasive melodic undercurrent, more indebted to 90s post-hardcore than any Ian Curtis or Peter Murphy.
Criminal Code are a perfect mess of contradictions, simultaneously full-bodied and forceful, and cold, distant and washed-out, like a hardcore heart in pale post punk skin, or vice versa. (cvltnation.com)
Spring is in the air. Or is it just insanity?
These 100% cotton, made-in-the-U.S.A. bandanas were printed right here in Olympia, Wash. with a K logo painted by Jill P. (also featured on these buttons) screened onto two corners (just like a scout!).
The latest monster garage-a-delic EP from the Shivas is also the most recent volume in the International Pop Underground series, You Make Me Wanna Die [IPU143]. Great minds collide with guitars slung over their backs and the sounds that emerge are a clarion call to the youth of tomorrow?!? Fudge, yeah. “You Make Me Wanna Die” (recorded at Dub Narcotic Studio in Olympia, WA.) is an instant Northwest classic, can’t hear it enough. It is also an excerpt from the upcoming Shivas album You Know What to Do [KLP252].
The other two songs, “Whiteout” and “So Far out of Control” are excellent examples of rock’n’roll beyond the fringe of consciousness, howlin’ session work!
The Shivas You Make Me Wanna Die EP is available as either a 7” 45 rpm phonograph record or digital downloadable, HERE.
B/w “Whiteout” and “So Far Out of Control”. You won’t be able to get these mega-jammers out of your head! Trust us. They’re catchier than the flu. (And did we mention the b-side features a cameo by Calvin Johnson?)
Little single, big hole, huge sound. Hop on the infectious, psychedelic party wave and do the frug.
Preview the tracks!
Calvin Johnson has once again become the curator of yet another fabulously assembled CD Safari. This one is lovely entitled "Positively 4th Avenue" and features all his favorite CDs from the Olympia underground music scene. Here’s what he has to say about it:
"The Olympia underground music scenes have been going strong for decades, and now healthier than ever with labels like Perennial, Brown Interior Music, Sultan Serves, Antiquated Future, Rumbletowne and many more producing fab new sounds on every block. The K Mail Order Dept. has gathered together this CD Safari: Positively 4th Avenue featuring ten compact discs from the K catalogue exploring many different genres, eras, people, and perspectives of the Olympia underground scenes.”
Receive all ten albums for $15.00:
Enemymine Enemymine CD [KLP093]
Mike Kunka taking the extremes of godheadSilo to another level: two basses, still no guitar. A provocative collaboration with Zak Sally (Low) and Danny Sasaki that rages into quieter moments and then spreads wide. Cinematic textures. Colorful bruises.
Shinin’ Director’s Cut CD [KLKP111]
DJ Take One rocked many a party during his stint in Olympia, during which time he recorded the break beat album Emergency Breaks [KLP089] and rocked many a house party, besides his regular stints at downtown clubs. Shinin’ Director’s Cut EP is put together by the production team of Take One and None, with a host of Northwest and L.A. hip hop artists guesting in various roles: MC, producers, spiritual guides. Heads participating include Vitamin D, Universal, Dr. Oop, PM the Praying Mantis and members of Black Anger/Bedroom Produksionz.
Old Time Relijun Witchcraft Rebellion CD [KLP128]
Old Time Relijun and Arrington de Dionyso really hit their stride with this epic blast of gingerbread house on fire, concocting their most potent pagan potions and clogging rhythms morning breath.
Dub Narcotic Sound System Bone Dry CD [KLP068]
It’s Olympia Gone to Memphis Vol. Two: the result of the second Dub Narcotic Sound System session at the famed Royal Recording Studio. This EP was produced by Stax Records alumnus William Brown. The song “Bass Hump” features horns by Memphians Ben Cauley (a founding member of the BarKays), trumpet, Jack Hale (Memphis Horns), trombone, and Lannie McMillan, saxophone.
C.O.C.O. Play Drum + Bass CD [KLP183]
The third album from C.O.C.O. (Olivia Ness and Chris Sutton) and it is def the most hardcore basement garage soul dance party committed to disc! Chris has continued to play with Hornet Leg, Hooded Hags and the Gossip.
Internal/External Featuring… CD [KLP106]
Featuring… is an album by Internal/External, the brainchild of producer Paul Schuster. After producing the debut album by Julie Ruin, Paul had the idea of creating more rhythm tracks and inviting other Olympia artists to contribute vocal and instrumental parts to form new songs. Participants include Tae Won Yu, Lois Maffeo, Rachel Carns, Kanako Wynkoop (in above photog with fist), Justin Trosper, Calvin Johnson, Katheen Hanna, DJ K.O., a real smorgasbord of ’90s Olympia music.
Calvin Johnson Before the Dream Faded… CD [KLP170]
The second solo album from Calvin, including the oft-requested “Rabbit Blood” and “When You Are Mine”. Guest artists and producers include Mirah, Khaela Maricich (the Blow), Phil Elverum (the Microphones), Johnny Jewel (Glass Candy), Devin Welch (Chromatics), Adam Forkner (White Rainbow), Jona Bechtolt (Y.A.C.H.T.).
IQU and Friends Teenage Dream CD [KLP108]
as a follow-up to their epic Chotto Matte a Moment! [KLP085] album, electronica experimentalists IQU invited pals and collegues to contribute remixes of their song “Teenage Dream”. Participants include Looper, Sonic Boom, Lexaunculpt, Team 714, Dub ID, Take One & Red Clay, and Concentrick. A real head trip.
Subdebs She’s so Control CD [KLP101]
Star Athena (who contributed her gallant efforts to the Selector Dub Narcotic [KLP082] compilation) rounds up some wild-eyed compatriots to bash these punked hard pop anathemas. Wonder drugs never stood a chance.
Fitz of Depression Swing CD [KLP041]
The second tumultuous Fitz of Depression album produced by legendary NW knob-knocker Jack Endino. An absolute Olympia perennial, Swing is a heavy delight and air-guitarist’s favorite. Mind over matter.
The following review of the Neo Boys’ Sooner Or Later [KLP242] was found in the zine Dynamite Hemorrhage #1.
"Nothing has changed/everything has changed since the brief five years that the Neo Boys existed from 1978 to 1983. Over two decades after four ladies in Portland, Oregon came together to make their own simultaneously uncertain & powerfully confident noise, women of the underground are still struggling to be recognized as equals with their male peers & the act of a girl picking up a guitar or a pair of drumsticks or a microphone is still a revolutionary act. Like their contemporaries the Wipers or the Rats (with the pre-Dead Moon Fred & Toody Cole), the Neo Boys’ approach to punk was one deeply rooted in the frustrations & nihilism bred in an era when Portland (and the Pacific Northwest in general) was still a fucked-up cultural backwoods; a place where it was up to the girls, queers, weirdos & freaks to channel their alienation into creating their own brand of smart & uncompromising musical rebellion as escape. In this LP’s linear notes, Neo Boys bassist KT Kincaid pays tribute to dozens of women who were crucial figures in the Northwest punk scene of the late ’70s/early ’80s, but in many ways, the list of their far-from-familiar names stands in contrast to some of the well-known men (the Dils, DOA, the Wipers, et al) billed on the show flyers & posters reproduced inside the gatefold sleeve, in case anyone needs more evidence that reissues like this one are vital, necessary corrections of past oversights that have denied so many brave women noisemakers their due.
This anthology collects both of the Neo Boys’ proper releases (their self-titled 7” from 1980 & the Crumbling Myths EP from 1982) with a treasure trove of demo recordings, live tracks & other sonic ephemera previously at risk of being lost to the ages. You can literally hear their musical evolution, not just from the punk era, but also the transformation of their endearingly shaky & hesitant playing into boldly coloring outside of the lines, rejecting more rigid punk conformity in their creation of a blueprint for countless feminist punks of the future ( see: the before & after versions of stone-cold ’80s underground classic “Never Comes Down”). It’s no coincidence that modern torchbearers Grass Widow covered the Neo Boys “Time Keeps Time” side-by-side with Wire's “Mannequin” on a recent single - hopefully this sprawling retrospective will make the Neo Boys an equally recognizable name in discriminating post-punk households, because it's long overdue.”
- Erika Elizabeth, “What’s the Deal with Fucking Record Reviews.” Dynamite Hemorrhage #1, November 2013. Print.
Right on. What do you think?
Do you love Greg Sage and The Wipers as much as we do? These insanely influential punk LPs are now available from the K Mail Order Dept.! Each LP was remastered from original tapes provided by Greg Sage himself, pressed on audiophile grade vinyl and housed in a deluxe tip-on sleeve. These glorious vinyl gems come to K courtesy of Zenorecords / Jackpot.
Check out all our Wipers merch. here!