Posts Tagged ‘color vinyl’

Ever since this whole newgaze scene exploded, I got hooked as I’ve always been a big fan of the whole shoegaze and Brit-pop music from the ’90s that it has so influenced it. It’s a resurgence of noisy shoegaze and dream pop. Some bands have taken a more aggressive and inventive approach and of course two of those bands are Whirr and Nothing. I could easily post at length at how much I’m into both and have sought out everything they’ve put out. As an ardent fanboy, of course I’ve also looked into other side band any member have been in or are currently doing.

Most notably in recent months is Death Of Lovers. They came about  in a collaboration of members of Whirr and Nothing after the two bands tour together last year. Two already-great bands coming together? I was giddy as a schoolgirl to say the least. After a few months of speculation and teasing, their debut EP, Buried Under A World Of Roses,  was release by Deathwish Inc. To say that it’s a slice of noisy shoegaze heaven would be an understatement. It’s a solid EP, although short in just four songs, and it’s so complex and layered that each listen yields something new.




Death Of Lover is comprised of Nick Bassett  of Whirr, Domenic Palermo, Brandon Setta, and Kyle Kimball, all of Nothing, and keyboardist Cecilia Liu. All together have created something unique and simply beautiful. I am floored at how much I love this EP and band. Call it a new obsession. Then again isn’t all music that you love basically an obsession?

One thing I have to say about the vinyl colors and overall package design is that they’re all unique. In a way simple and ornate but I feel that they overall point is just that: simplicity and a sense of minimalism to allow the music to speak for itself. And boy, does it. Ever listened to music so intense and emotionally heavy that it makes your heart ache and you shed a tear or two? That’s what I get from Death Of Lovers.

Further down the rabbit hole I also came across Night Sins, which is the other band that Nothing drummer Kyle Kimball is in. In Night Sins, Kimball is the vocalist mainly but also the principal songwriter. So it basically it’s his project. They have a sound that is akin to Sisters Of Mercy and solidly 80’s Goth. Insanely layered as well and a lot going on to take it. In 2012 they release their debut LP, New Grave, on Italian label Avant!


And now most recently this year, Night Sins put out their second LP, To London or The Lake. Again, another example of post-goth music executed flawlessly.


If you keep following me down the rabbit hole still, we now find Swan Dive. This is the other band from Nothing guitarist Brandon Setta. Swan Dive are still  within the newgaze genre and style but a little more noisy and punk. There is a faster pace to their music that puts them on another level and goes beyond what the other bands are doing. They just put our their debut 7″ EP, Fly Toward The Sun. A few colors available for this one in a very limited run.


Any fan and lover of music will agree that it’s always fun to track down and listen to any and all related bands of a band you love. I know I do. It expands the sound palette and exposes you to new music. Isn’t that the point at times of listening to music?

I always stress out that I will never have enough time in my life to listen to all the music and records and bands that are out there which appeal to me. I guess obsessing over certain bands and their roots and off-shoots are a good way to remedy that stress. Right?

I recently reviewed the Death Of LoversBuried Under A World Of Roses EP over at the music site I write for. Feel free to peep that review here.


Youth Code – S/T 12″ LP

Posted: December 6, 2013 by Juan D. in Record Nerds
Tags: , ,

Every once in a while I get behind on what bands are doing or new ones that pop up. The case with L.A.’s Youth Code is that I had been hearing their name in numerous places: blogs, shows, zines, and maybe even some message boards. Initially I didn’t pay much mind. Curiosity got the best of me one day and I reached to Tre from Deathwish. No idea why I’d ask him since he potentially doesn’t like some of the stuff I’d be into. But hey, it was worth a shot. His description of them was somewhere along the lines of Sleigh Bells but less dance-y and less pretentious than some dude in Poison the Well. Ouch!.

Thank goodness for Spotify. Off I went. My very initial reaction on listening to their self-titled album was that they were no more than emulating Skinny Puppy. Early Skinny Puppy that is. And although Skinny Puppy is one of my favorite industrial music bands, I was a bit turned off by this thought.

But fear not.

A week or two later I listened to the album again. Then it clicked. Having a similar sound to Skinny Puppy is a good thing. But Youth Code embody a more hardcore punk ethos in their approach. Listening to them you get the clear impression that they don’t give a fuck and they will pummel you with their sounds on their own terms. I dig that in a band.

So being the OCD record nerd that I am, I went looking for their LP. Released by Dais Records, who have also done stuff from Cold Cave, King Dude, Missing Foundation, and more, were close to sold out of the first pressing. The only color available at the time was the Black out of 500 pressed. The other colors initially available were a Smoke out of 100 and a red out of 400. But lo and behold, checking out Deathwish’s distro section they had the Red. So I snapped it up.

Youth Code





Got the Red version and left it at that. Then a couple of months later, I saw a post on a vinyl message board, that a guy who used to be in Nothing and Night Sins, two great bands out of Philly, was selling some stuff on eBay. Thinking that it’d be just Nothing and Night Sins, I checked it out and much to my surprise he was also selling the Smoke version of the YC LP. Sweet! Ended up winning it along with some Nothing and Night Sins stuff also. Double score!



The Youth Code LP is great. There is no doubt about it. If you’re a fan of “classic” industrial music with a punch, then this is for you. Trust me.

The band is in town right now here in good ol’ South FloriDUH! playing a few shows. Two actually. They played last night at an in-store at Radio-Active Records in Ft. Lauderdale. It was a small and very intimate (cheesy word to be using considering the style of music!) performance and they decimated the place. Getting a chance to talk to both Sara and Ryan before and after their performance, they were both super nice and friendly people. The entirety of the show I was (and still am) in excruciating pain. Not from “moshing” or going nuts. Oh no. Wish it were that. Recently (the day before) I was diagnosed with an epidermal inclusion cyst right at my lower back. Not only is it inflamed but it’s painful to the point that it has me in tears. Sitting or even laying on my back proves to be a chore. A painful one at that. So much so that it’s causing my whole back to be stiff and tightened. Ouch!

So thanks to that I can’t make it tonight to their show at Gramps Bar in Miami. It bums me out because it’s going to be a proper show for them showing the full effect of their sound and performance. The pain has overcome by will to overcome. Ha!

But Ryan mentioned that they may be coming back down this way next year. Hope it is so.

So if you’re intrigued by Youth Code, and you should be, check them out. A new pressing of the LP is up for pre-order at Dais Records. New colors and the cover art has been redone. So it’s like a whole new record!

And check out their video for “Carried Mask”. Watching it and listening to the song makes wanna get up and fuck shit up!

Black God – Three 7″

Posted: September 8, 2013 by Juan D. in Record Nerds
Tags: , , ,

It’s been quite some time since the last post. Over two months it seems. Chalk up the inconsistency to a combination of feeling uninspired and not many great records coming in. Although there has been a few received and listening to, but not enough to post about.

Oh well.

Being that I posted about their first 7″ (and completely neglected their second one), may as well briefly talk about the new Black God 7″. Simply titled Three, it’s six songs of short and unbridled hardcore punk. If you have and listened to their first two, then you know what you’re getting here. Not so that they’ve become formulaic and predictable. Just good ol’ fashioned hardcore punk. With Louisville, KY as the stamp of street cred.

No Idea put up pre-order for it a week or so ago on their new webstore, and it is advertised as being a run of 1,000 total copies comprised of Red, White, Clear and four mystery vinyl colors.


As you can see, the mystery colors seem to be “Brown”,  “Grey”, “Orange”, and “Purple”. In quotes of course as they could be called something else being that they’re No Idea mixed colors.

And of course being the completist nerd that I am, I went for a test press as well. Why not?

Listen to Black God. Do it.

It’s already evident that I’m either listening to a lot shoegaze and fuzz-pop bands as of late. Just exploring what else is out there besides hardcore and metal. Always been the case with me. I’m all over the place.

Pity Sex is one of those fuzz-pop shoegaze style bands that I’ve been into a lot. They just released their second album Feast of Love on Run For Cover Records. RFC has been killing it lately with some great bands they’ve been releasing. It’s rare for a label to be consistent with great releases that not only cover different styles and sounds but are also solid and good.

The Feast of Love release has been a bit of a mess. Well, not really but there has been some snafus along the way. Four colors were announced right out the gate for it. And an exclusive color for Hot Topic. Somewhere along the way amidst some confusion, one of the more limited colors (Peach w/ Red Haze out of 400) ended up being sent to Hot Topic instead of the label and thusly those who ordered that /400 color were not getting it. Scramble the damage control and now a sixth color, Lilac, was done to fill those orders. And as expected, this caused a stir and some commotion for completist assholes (like myself) in tracking down that now-new HT color. Some were sent to stores while there was a chance that if ordered online, you’d get one.

I happened to be in the area of my closest HT and decided to pop in and check it out. Lo and behold they had four copies on hand. I grabbed the two with the least amount of jacket damage and lucked out with the variant I was tracking down.


So while I wait for the actual order from RFC, Pity Sex had a record release show in their hometown and I had found pretty early on that they were planning to have a special version of the record. They were considering doing a special screened cover for it. Works for me. It would set the release apart and make it special. But how would I get my hands on a copy? Put the word out that I was looking for it and if anyone going to the show would mind picking me up a copy. Sure enough, a fellow record nerd went to the show and snagged be a copy.

As a sidenote. I may be a mod in one of the largest record message boards out there and kinda sorta known for my writings in The 1st Five, but that doesn’t mean shit. At least to me it doesn’t. I’m just some random fanboy at the end of the day. But it is cool when someone does recognize and know who I am. I always find it surprising.

So yeah. I got lucky with the hook-up for a show release version of the LP.

It’s a screened cover with the date and numbering on the back that wraps around the LP jacket itself. The vinyl color is the most common Clear Green out of 1,000.





So that’s it.

Record release show version secured.

As of right now we’re all waiting for the pre-order copies to start shipping. But that got delayed due to the aforementioned snafu. It’s all good.

This record is pretty great and well worth the wait. But by now anyone who wants to hear it already has. And you know it’s awesome.



As much as I’ve been trying, I can’t keep myself from chuckling at that 7-Eleven jingle about “Oh, thank heaven…” and weirdly enough applying it to Deafheaven. Silly, yes.


With Deafheaven’s new record, Sunbather, the sheer brilliance and genius of the band can’t be denied. Surely some haters will try, but they will fail miserably. And if you’ve listened to, and love, Roads to Judah, then you will not only be pleased but completely blown away by the new one.

As soon as Sunbather was announced, the anticipation built up like crazy. Especially for the vinyl release. The album is scheduled to be widely released on June 11th, and as with all things Deathwish Inc., pre-orders went up earlier. This past Tuesday as a matter of fact. And without a hitch. No system crashes. No oversells. No immediate selling out. Although the one particular color did sell out in about an hour as it was limited to one per customer, so presumably the most limited.

And it started arriving at people’s homes and blowing minds away all over again.



Deathwish have gotten smart with their last few releases in that instead of the usual pre-order mayhem and uncertainty of colorways, they have put up the records already on hand and allowing customers to choose which colors they prefer. Some more limited than the others of course.

Sunbather was no exception to this new approach. Colors were already known and it was clear that the Clear with Splatter would be the most limited as it was “one per customer”. The other two colors are Hot Pink & Beer and Red & Gold.




In the pics is hard to discern much difference between the Hot Pink and the Red, but in person it’s evident what each is. Although the Hot Pink looks like a more muted red when you look at it.

The packaging and design of the sleeve and jacket were done by Nick Steinhardt of Touché Amoré. He has done a few record art designs before and this one for Sunbather is top-notch. It’s simple and understated but also bold. The diecut detail in both front and back of the jacket are a nice touch. Adds a little punch to the overall image and design.


There is some “criticism” on why put in a 2xLP in a single record jacket. Especially when Roads to Judah was a single LP in a gatefold jacket. Missed opportunity? Band and/or label decision? Not sure we may find out. But myself personally can go either way with it. Yes, it would have been cool to have been in a gatefold jacket, but it also works as a single jacket given how the diecuts are. That’s just me. Other record nerds will still bitch and moan about something or other on this release.

(Edit: I got in touch with Steinhardt about the art and design of the release and he shared this with me about the  packaging: “The non gatefold was a conscious decision to aid the design and dictate the way certain details revealed while opening it”)

Hell, I’ve heard some complaining about the colors for the vinyl, even the splatter, which I think looks great as all hell.


Deafheaven’s Sunbather is a great record through and through. There is no doubt about that. It takes a new step in the band’s evolution with their music and songwriting but also with how it’s presented musically and visually with the record itself. This is already making its way to plenty of people’s Top Lists for 2013, mine included.

And to be completely lazy with my closing statement, I’ll just copy the proper review I wrote for Sunbather.

If there is such a thing as a sophomore record slump in music, then Deafheavenmust not have gotten that memo. And even if they did, they tore it to shreds and burnt it in a funeral pyre, as clearly evidenced in the brilliance of Sunbather. In this eagerly anticipated second record, the Bay area black metal shoegaze amalgamists have created a document in music and beautiful noise. It’s not easy to mix disparate and unlikely genres, but Deafheaven have done it so well that it looks and sounds easy.

Sunbather opens easily enough with “Dreamhouse” which is a standard showcase in the band’s sound. But as the song evolves and is followed by the later tracks, it’s apparent that Deafheaven have expanded their sound and style in the two years since Roads to Judah. Where Roads was a much darker and heavy album, Sunbather is more expansive, faster, and yet still heavier nonetheless. The best example of this new approach and heaviness is in the songs “Please Remember” and “Vertigo.” The former track builds up the noise and nuances, then bleeds into the latter and explodes in a chaotic wall of noise. And therein lies Deafheaven’s true essence as a band and as musicians. It’s the perfect harmony and balance of subdued and serene with the ugliness of heavy and dark.

Two things are clear listening to Sunbather. First, this album is a start-to-end record that has to be taken in as a whole. Each and every song compliments the one preceding and following it. The ambience and feel throughout is harmonious in that all the tracks work together to create a mood. Second, is that mood itself. This is an emotional record. It may be heavy and dark and fast at times, but it is rife with emotion. Sunbather gives you the sense of seeking a light in a world full of darkness. It is almost the musical question of the conundrum that plagues each of us since birth: why am I here? But better yet, it is the soundtrack to our search for equilibrium in this world where stability in shaky ground is ever-so elusive.

Sunbather is the album where Deafheaven expands not only their sound, but also breaks free of any and all preconceived notions anyone may have had of what they are supposed to sound like. This album is relentless with enough moments to reflect and breathe in all that we’re hearing. And hopefully closely listening to.


And oh yeah. No pressing info as of yet.

It’s being assumed that it may be the “typical” Deathwish Inc. run of 300/700/1,000. We shall see soon enough.

Awwwwww yeah!!! Here I am back to regain some of my hardcore punk street cred.

The almighty Converge returned with a new album, All We Love We Leave Behind. To say that this is album is a beast is an understatement. This is Converge at their meanest and rawest and most intense. In the band’s already ongoing 20+ years career, this album is a summation of all things Converge and then some. They have taken everything from before, beaten it into the current sound and style, and come up with a mish-mash that encompasses all the  best they have to give. And it’s fuckin’ glorious!

If you’ve listened to the album by now, then there is no need to “review” or retread what AWLWLB is all about. If you feel inclined though, just mozy on over to the proper review of the album I did on T1F. No, this is more and all about the vinyl. Vinyls. Records. Rekkidz. Yeah.

Waaaaaaaay back in late August, pre-orders for this bad boy dropped on and went live on Deathwish Inc. As expected fanboys and girls clamored for this and ordered with the quickness. Myself included of course. I don’t even remember what the expected release date was at the time. That’s a bit irrelevant by now. All that is widely known is that this pre-order was fraught with delays all thanks to The Beatles. Yes. The Beatles. I have no beef with the Liverpool foursome and their music. I enjoy what they’ve done and I’m cognizant of their influence and contributions to pop and rock music. (If you’re one of those narrow-minded assholes that kept saying “Fuck The Beatles” and bitching and moaning about their music when tied in with the delays faced by a lot of labels and record manufacturing plants, please do me a favor and get fucked. You’re an idiot and more than likely some young 20-something who doesn’t know his/her head from your own ass).

So yeah. The Beatles…or rather, whomever is holding the rights to their music nowadays, decided to release a massive box set of all of their records. Being that it’s a massive catalog and undertaking, this tied up at least two of the major record manufacturing plants in producing it. Which of course affected every other customer/label/band who had records to be made. Including Deathwish Inc. and all the Converge AWLWLB 2xLP.

But all the waiting and inherent bitching and moaning by the aforementioned narrow-minded assholes, was well worth the wait. The 2xLP release of AWLWLB is incredible. How can you beat a foil-stamped gatefold jacket and full-art in the centerfold as well as the insert?!?! You can’t!


DSCN3632     DSCN3634

The foil-stamping made it fun to photograph properly with and without the camera flash and even natural light. So shiny!




And of course as expected, it was off to the races to figured out what colors would be pressed and how limited they’d each be. Speculation ran rampant as soon as the first few orders started being received by all the clamoring fanboys and girls. Right out of the gate, Deathwish Inc. announced that there’d be a three-colorway as usual with their releases. Plus a 180gram Black and also an exclusive Yellow for their Kings Road Merch & Epitaph webstore.

At the time of posting this, the only pressing numbers known are the 180gram Black (1,000) and the KRM Yellow (1,000).

DSCN3644     DSCN3652
DSCN3640     DSCN3642

DSCN3648    DSCN3646

And there is also yet another color, a Red/Orange Swirl that the band currently has on tour in Europe. The exact pressing on that is still up for debate after much discussion and arguments over it. We will know in due time.

So. That’s a total of seven variants including the Black 180gram. And surely if you haven’t kept up the dominant record nerds message boards discussing this release, you’re wondering where that Clear variant came from and what’s it all about. So far it is being speculated that it’s a “friends & family” pressing much like Relapse Records does with their releases (coincidently also on clear vinyl). But if you’ve been a long Converge and Deathwish Inc. fan and supporter, then you know this along the same lines as the Axe to Fall “shards” and the Jane Doe reissue “peach” variants which were  randomly inserted to the first few orders and also given to long-time friends and supporters of the band and label. And are ridiculously rare and limited.

DSCN0146     DSCN0821

So there you have it.

Converge‘s All We Love We Leave Behind 2xLP. I’m sure that all pressing info will be released soon. And then people can start going nuts over what colors they have and how limited they are and inflate their senses of entitlement even more. Ha! Just kidding.

On one too many occasions I’ve gotten suckered into the hype over a band. Whether it’s from reading incessant posts and gushing from fanboys on message boards like VC or friends who swear by the bands, I get sucked in and most often than not walk away disappointed. Or the hype and novelty wears off and those rose-colored glasses end up coming off.

But every so often…and rarely…a band truly lives up to what I’ve heard and as soon as listen to them, I become a solid fan. Especially after witnessing their live show. Funny how seeing a band live usually confirms and cements the affinity for them. When they’re good of course.

With Single Mothers I am not sure if there was any hype surrounding them per se. May have been simply due to their connection to Touché Amoré who are the darlings lately. Not taking anything away from TA because I dig them a whole lot. Jeremy Bolm of TA started a label, Secret Voice, and the first signing/release is the self-titled 7″ from Ontario’s Single Mothers.

What initially got my attention from Single Mothers was how close their post-hardcore sound was to that of These Arms Are Snakes. Not a carbon-copy or emulation, but more of a kinship in sound and style and feel. It was that same bombastic and spastic frenzied noise. And not to mention some of the most snarky and cynical lyrics I had heard in a while.

The initial offering from the band and Silent Voice is in the form of a 7″: two colors: Yellow (out of 275) and Black (out of 800). All is good. This is a must-buy for fans of the genre.


The packaging is simple enough with a folded sleeve with all the pertinent info about the band and release and whatnot.


As it turned out, the band played a record release show and of course they were to have special copies of the 7″. I didn’t find out until well after and chalked it up to a loss. I didn’t see the point of posting all over record message boards begging for a copy from anyone willing to sell theirs if they one. But as luck would have it a few weeks ago, a fellow record nerd in Canada posted that he had one up for grabs. With the quickness I messaged him and after completing the deal and the mail taking forever to show up, I had my hands on the record release version.

I was already sold on this band but seeing them live when they recently played here in South Florida a couple of week ago…man…that is what truly did it. Single Mothers is a band that has to be witnessed performing live. Their shows are complete trainwrecks (in a great way) of insanity and fun.

If you’re still plenty curious about Single Mothers and want to get more insight into their self-titled 7″…check out the review I did for them over at The 1st Five. Then go out and get your hands on this 7″.

Or not. Doesn’t matter.


Pity Sex – Dark World EP 12″

Posted: July 27, 2012 by Juan D. in Record Nerds
Tags: , , ,

One of the few perks of writing for music sites and zines is the plethora of free music I come across for reviews and promos. Not that I get a lot of free music but I do get to check out plenty of new bands and records. I do my best to spread the word on bands and albums I end up digging but even bands I’m not keen on, I still give them a bit of “press”. I mean, if they’re taking the time and effort to create music and art, why not give the bands a bit of a break? Especially if they took the time to contact me and send me stuff to check out.

 One of the bands that I recently got the opportunity to check out is Pity Sex. They’re from Ann Arbor, MI and I came across them when we got news that they had signed to Run For Cover Records. When I say “we” in this instance, I am referring to the other music site I write for. Pity Sex play a style of lo-fi pop that is peppered throughout with noise and fuzzed-out guitar tones. The bio describes them as being akin to Sonic Youth, Dinosaur Jr., and Hum. Some pretty heavyweight comparisons there…and they are spot-on!


Upon listening to their Bandcamp page, I was hooked right away. Since for the past few months I’ve been listening to more and more non-hardcore bands and music, Pity Sex appealed to my palate. The band has put out two EPs so far, one of which, Dark World, was pressed by Forward! Records. I did not hesitate Googling the label and finding the site to order the EP. I have no idea how long pre-orders had been up, but the first 100 copies of the EP were to be pressed on White vinyl. But that later changed to Creamy Pink. I hoped that I got my order in quick and early enough to snag the color.

And sure enough, I did.

The record overall is great. Simple packaging and jacket. The vinyl is not completely heavyweight but there is some heft to it. And it definitely is a Creamy Pink. With a bit of marbling throughout. The only thing that has me a bit peeved is the lack of insert. But that’s OK. I’d rather have the music and sound speak for itself more than anything else. And for the price paid…$12 (which I assume included shipping because I wasn’t charged anything additional)…is very well worth it.

Pity Sex are a new pleasure to listen to. If you dig good music, then check them out.

I can still remember the first time I had heard White Zombie. Much like every regular budding metalhead back in the late 80’s and early 90’s, it was all about what was being played on Headbangers Ball. So it was when they premiered…I think they did…the video for “Thunder Kiss ’65”. I had never heard of the band at all and as soon as the video played and the music was blasting, I was hooked. It wasn’t the typical Metal I was used to and definitely was completely different from the Hardcore and Punk I was in the midst of back then. The next day I rushed to the local record store…it may have been a Record Town (I think it was called that)…and bought the La Sexorcisto: Devil Music Vol. 1 CD. From the booklet to the music to the obscure movie references and samples throughout, I was enthralled in this band and became life-long fan. Still am.

For no specific reason(s) I never picked up the vinyl version of the album. Nowadays it fetches some big money on the ol’ eBay. You know, that glow-in-the-dark version of the record. I think that’s the first and original pressing of it. Thankfully the record has been reissued by Music On Vinyl who are well-known for high quality releases…as well as being pricey since they’re imports for us here in the U.S. A single LP can usually run from the $30+ range. But it’s worth it from what I have seen and heard with this reissue of La Sexorcisto: Devil Music Vol. 1.

Limited to 1,000 numbered copies, it’s on a clear with white smoke color…which has been joked to be “cum-color” since it does look like that. It’s a decent heavyweight vinyl and sounds just phenomenal.

The reissue is very well-done. The artwork pops. The insert is great. The vinyl is nice and heavy. And overall it sounds great. If you’re a fan of the band as I am, this is definitely well worth it as I already mentioned.

Later this month on the 25th, MOV are also reissuing Astro-Creep: 2000, White Zombie‘s 1995 follow-up. That one is supposed to be on a translucent green and also limited to 1,000 copies. This will technically be the second reissue of the record as back in 2007 a repress was done for Hot Topic stores. That reissued was on clear with red splatter and came in a clear sleeve. No jacket.

More human than human…indeed…



What the hell happened? Whirr have completely blown up. It seems just yesterday that no one knew who they were and all real knowledge was that Nick who had joined Deafheaven, was also in another band called Whirl. Later changing their name to Whirr.

So here we are I guess. A few months…year maybe?…I don’t know. Feels like ages I have been into this band that it has all gone by so quick.

They just very recently released their first full-length, Pipe Dreams, on Tee Pee Records after the much-successful June EP 7” earlier. I say much-successful because it’s already in its second pressing from what I am hearing. So given all of this craziness over the band, it seemed fitting that a proper reissue of their Distressor EP was due.

Now. As far as I know, the original version of the Distressor 12” EP was mired with issues. First, it was done by a UK-based label that seemingly shafted a few people in delivering the goods. So it seems that not everyone got what they ordered and left plenty out in the cold.

So here we are almost a year later and a reissue has been done by the good folks over at Savannah, GA-based Graveface Records. This reissue not only comes in new vinyl colors, but also brand new, completely redone artwork and inserts. Something that is always interesting about reissues. Ya know, making it something new and altogether different for fans.

The simple and basic black wax has been done away with a Clear w/ Black & White Splatter for the retail version. A Green/White Swirl version is available for Graveface Record Club members. (More on that latter color later).

The retail version is out of 325 copies. The splatter color is nicely done and I dig the redone artwork and inserts. 


I do have to bust balls where it needs to be done. I don’t understand the reason to completely change the artwork. Was it the band’s decision? Was it the reissuing label’s? Who made that decision?

We have gone from a tastefully nude woman to a dog in front of a stack of speakers. Don’t get me wrong. I’m all for both. They both fit. Cryptic and strange and very much conducive to the swirling and shoegaze-y sounds contained within…but I need answers!

I have a theory…and will offer it in an effort to start internet shit-talking and rumor-mongering. The original pressing…which by the way is a screen-cap of Nicole Kidman from Stanley Kubrick’s Eyes Wide Shut…is to appeal to the guys. You know. Nude chicks…Huh. Huh. Huh…While the reissue cover art appeals to the ladies…”Awwwww…it’s a doggy!”. In front of a wall of speakers to of course still retain some masculinity.

Insert more shit-talking non-sense here I am guessing.

But here’s the bottom line. This reissue is pretty great. It was needed. The inclusion of the demo versions of “Leave” and “Meaningless” were an added bonus. And of course making the release available again to anyone who missed out. That was a no-brainer.

My only beef of sorts…I guess…is the additional color of the release. There is a second color available: Green/White Swirl. But you could only get that if you were to join the label’s Record Club. For a determined amount, you’ll get all releases the label puts out in club-specific colors for the year. This is how I understand it. That’s really a great offer when it comes down to it…much like the Sub Pop Singles Club back in the day and even when Victory Records tried to pull that off back in the mid-90’s…but in this current economy clime, that may be a bit tough for some. Surely it’s a great way to check out new bands and releases from the label, but to me it feels a bit forced if I only have interest in that one band and I’m a completist asshole…like I surely am. I’m by no mean knocking Graveface and their Record Club…but if my interest in their roster so far is only Whirr, then the club doesn’t make sense to be a part of…thusly missing out on the exclusive color.

But hey…do yourself a favor…get this reissue from Graveface any way you can. It’s pretty killer and a lot of effort went into it. I’m impressed and hooked into it. And don’t worry, if you miss out on the splatter or swirl colors, there’s already talk of another pressing being in the works. So there’s no missing out.

And of course…follow the instructions listed on the insert…