What do you get when mixing Louisville Math Rock with DC Post-hardcore? Answer: Jeff Mueller’s & Fred Erskine’s June of 44

RODAN

So our story begins in Louisville, Ky circa 1992.  Jeff Mueller & Jason Noble (along with Tara Jane O’Neil and Kevin Coultas) formed the influential math rock group, Rodan.  The band, along with acts such as Crain and Slint, defined the Louisville Math/Post Rock scene.  Although Rodan’s career was short (they broke up in 95), the members went on to form other significant acts of indie & post rock music (Retsin, Rachel’s, The Sonora Pine, and others that will be mentioned below). In 1993, the band recorded their only full length, Rusty (1994 Quarterstick Records); the album’s name was inspired by their producer’s nickname, Bob “Rusty” Weston (of Shellac & Volcano Suns fame).  They recorded a demo and some 7”s, and they did a John Peel session in 1995.  Their sound, like many Math Rock acts, ranges from quiet & minimal to loud, chaotic, and dissonant.  The vocals vary as well from spoken word & haunting melodies to screams & wails of rage. At times the rhythms are calm and subtle, while at other moments, the rhythms explode into angular, frantic beats.  A band like Rodan makes clear that Math Rock, Hardcore, and Post Rock all have common roots as musical genres.  Here’s the epic track, “The Everyday World of Bodies,” off their full-length, Rusty:

That’s some lovely Mathcore dissonance. Now here’s a shorter number, “Shiner,” a song that clearly demonstrates their more “hardcore” influences:

Now take a listen to the last track, “Tooth-Fairy Retribution Manifesto,” a song that anticipates the ever so popular phenomenon of Post-Rock:

As stated before, the dynamic Louisville band unfortunately broke up in 1995, but the members went on to form acts of equal importance.  In fact, Mueller went on to form the legendary Math Rock group June of 44, but first, our story returns to 1992 to the legendary hardcore scene of Washington DC.

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HOOVER & the CROWNHATE RUIN

Around the same time Mueller and others were forming Rodan, Fred Erskine teamed up with Alexander Dunham, Christopher Farrall and Joseph McRedmond for the post-hardcore act Hoover.  Like similar acts of the region, they recorded their (first & technically only) full length The Lurid Traversal of Route 7 (1994) on the formative label Dischord Records.  Dischord/Fugazi fans know what to expect here; in fact, any Dischord enthusiast is probably already well aware of this record.  I cannot stress how great an album this is! Some people argue that this an Emo record; I definitely agree with the insight that Emo was born out of the vibrant Post-Hardcore scenes of cities like DC, Chicago, and San Diego, but this is closer to Hardcore than Emo Rock to me. Check out the opening track off their full length, “Distant”:

Somewhere on the internet, I read the statement that this might be the best DC post-hardcore band that does not include Ian McKaye. One could make the case; the record is better than much of the later Fugazi catalogue, for sure.  Here’s another track, “Electrolux,”  that perhaps demonstrates elements of mathy post-rock (like the sounds of Rodan...):

I hear connections to Rodan in the above track, and like Louisville Math rockers, Hoover had split up by 1995.  They recorded some 7"s in addition to their album, and they later reunited to record an unfinished self-titled record in 1997 (Slowdime Records).  Around when Fred Erskine joined Jeff Mueller to form June of 44, he and other Hoover members formed an even shorter-lived Post-Hardcore project, The Crownhate Ruin, in late 1994.  They recorded some 7”s (including one with Boston’s Karate on Art Monk Construction in 1995) and eventually released a single full length album, Until the Eagle Grins (1996 Dischord Records).  Here’s the opening track, “Ride Your Ride”:

The music is very similar to the previous project, but it’s no Hoover if you ask me.  The group quickly disbanded, and it was at this time that Rodan’s Mueller connected with Fred Erskine to develop the band June of 44. 

H: http://www.mediafire.com/?wmtzvozgdnj

CR:  http://www.mediafire.com/?9n8ddmysz0d

CR/K split: http://www.mediafire.com/?hyycw1mzxdw

Erskine and Mueller were joined by Sean Meadows (of Lungfish, yes, I said Lungfish...) and Doug Scharin (of HiM and Rex) in 1994 to form what one might deem a “supergroup.”  June of 44 were a Math Rock collective that toured and recorded consistently until 2000. Although they are commonly labeled a Math Rock group, their music includes elements of Emo, Post-Hardcore, Post-Rock, and dub-style Jazz, so their albums tend to be more accessible than the heavier projects that preceded them.  Their first album, Engine Takes to the Water (1995 Quarterstick Records), remains close in sound to Mueller’s and Erskine’s previous projects; here’s the 2nd track “June Miller” (as in Henry Miller’s 2nd wife; I believe she has something to do with group’s decision to be named June of 44):

One can definitely hear the influences of Louisville bands like Rodan and Slint as well as the styles of DC Post-Hardcore.  The following year they released Tropics and Meridians (Quarterstick Records), and they immediately began to develop their sound in multiple, experimental directions.  Bob Weston (of Shellac) reunited with Mueller and began working with the group as well. Their 3rd release, however, Four Great Points (1998 Quarterstick Records), represents the band’s development from sophomore sounds to more mature writing & composition.  It’s mellower, less angular, and more expansive in its range of styles.  To me, late June of 44 sounds more like modern Post Rock music than say 90s Mathcore.  Check out the opening track, “Of Information and Belief” from their 3rd full length:

Although mellower, their music has an edge for sure.  June of 44 released their final studio album Anahata in 1999 on Quarterstick, once again recorded by Bob Weston.  The album pursues similar experimental paths of Four Great Points; I highly recommend it as well.  Before the group broke up in 2000, they did record one last record, a live In the Fish Tank studio session.  Oddly enough, June of 44’s In the Fish Tank 6 (1999 Konkurrent Records) is one of my favorite records to listen to..... Maybe that’s due to the fact that I’ve been nerding out on cheesy Post Rock for the last couple years.  Check out the song, “Henry’s Revenge”:

The last track recalls Post-Rock groups like Tortoise, Mogwai, etc.; it would have been interesting to see where June of 44 would have gone musically in the 21s century.  I personally think the closest answer to that question can be found in the recordings of Jeff Mueller’s latest project, Shipping News.

ETttW:  http://www.mediafire.com/?mqwoocmqr15

FGP:   http://www.mediafire.com/?immna4l5l2hmsix

ITFT:  http://www.mediafire.com/?m6mvs58u07c1aa4

SHIPPING NEWS

The group formed in the late 90s when Mueller reunited with Rodan’s Jason Noble. Like Rodan & June of 44, the group has been called Math Rock, Post-Hardcore, as well as Post-Rock, but like June of 44, the maturity of their sound becomes clear because they obviously don’t rely on the conventions of any of those genres.  Their compositions are very diverse and original.  Shipping News has released several albums over the years (most on Quarterstick Records).  Personally, I love their 2nd studio album, Very Soon and In Pleasant Company (2001); the track “Actual Blood” is my favorite Shipping News song:

That’s a beautiful song, but it’s not an accurate portrait of Shipping News’s wide range of sound. I highly recommend all of Shipping News’s releases, particularly their 4th album, Flies the Fields (2005 Quarterstick Records).  The tempo of their music isn’t always so slow; they can pick it up and rock as well.  Definitely support their live performances.

This post could keep going, but I will end it here.  I will return later to Louisville to post more gems from the city’s legendary music scene (such as Squirrel Bait, Slint, Crain, etc...).  For now, take care and enjoy!