Post-Hardcore Journals - Easter is a Day for Egg Hunt!!

Ian MacKaye says, "Happy Easter!"

MacKaye performing with Embrace

I am sorry about the inconsistent posting. This is a raging busy time of the year, so I am doing my best to stay current.  Things will pick up as we get closer to May; I promise!!!  Well, today is Easter, and I have a Post-Hardcore gem for the occasion: Ian MacKaye's and Jeff Nelson's very short-lived side project Egg Hunt.  During the Spring of 1986, the two former members of Minor Threat were visiting the UK, and they decided - at the invitation of Southern Records - to record some songs during Easter Weekend. They recorded a total of 4 songs and decided to release a 2 song 7" to commemorate the event, appropriately titling the project Egg Hunt.  They named the release after its title track, "Me and You," and it was put out by Dischord the same year of its creation.  It reminds one of Ian's days with Embrace - a similar sound that is perhaps a bit more experimental....  One is definitely left yearning for more.  Here's the opening title track, "Me and You":

The B-side of the album was intended to be part of the Embrace catalogue but obviously was passed along. I wonder why; it's a great tune! It's called "We All Fall Down"; check it out:



This is one of the greater - yet lesser-known - moments in the Ian MacKaye discography. Order the 7" from Dischord Records website (I believe you get a first-rate free download of this very release if you make an account on the Dischord web-store...)  Well, have a great holiday everyone and enjoy the music!

Egg Hunt - "Me and You"

Egg Hunt - "Me and You"

Post-Hardcore Journals - Entry 3 - One of DC’s Classics: Jawbox

So I’ve been avoiding this one on purpose. How does one broach the subject of DC’s Post-Hardcore classics without getting lost or overwhelmed?  The capital’s independent music scene was one unmatched by any other DIY community of the 80s/early 90s period of rock’n’roll history. We’ve discussed Hoover and Crownhate Ruin elsewhere - two of the best of DC’s post-hardcore music scene; another band that cannot be ignored, however, is the legendary Jawbox. Recently, I ordered on vinyl the 2009 remastered reissue of their greatest achievement, For Your Own Special Sweetheart (1994 Atlantic Records), so the time was right to post....

Jawbox was formed by frontman James Robbins (better known as “J. Robbins”) in 1989 after playing in the DC punk band, Government Issue. Like many east coast bands born out of the American punk & hardcore tradition, they released their first self titled Ep (1990) and their debut Lp, Grippe (1991), on the legendary label, Dischord Records.  The early Dischord releases were raw to say the least, and much of the songwriting seemed underdeveloped and sophomoric. Their second album, Novelty (1992), released on the same label, revealed the band’s potential to be one of the most significant acts of the genre.  The band recruited the seminal producer, Iain Burgess - famous teacher of Steve Albini and known most for his production work with American post-punk & noise rock groups such as Big Black and Naked Raygun. Novelty’s a classic DC album - definitely worth a listen; they even released a music video for the opening track, “Cut Off” (youtube will not allow one to embed the just mentioned video, so here’s a link: Jawbox's "Cut Off" on YouTube.  Check it out, for sure:

Jawbox's Novelty (1992)

The band’s major breakthrough was their debut major release on Atlantic Records, For Your Own Special Sweetheart (1994).  Along with the previously posted Helmet's Meantime, Quicksand's Slip,  and Hoover's Lurid Traversal..., Jawbox’s 3rd full length can easily be fit into my list of all time best Post-Hardcore albums; this one’s simply flawless from beginning to end.  And it sounds great remastered on reissued vinyl!! Outside of Helmet and Jawbox, I can think of few bands of the Post-Hardcore tradition that transitioned well from the independent music world to the pressures of the corporate recording industry.  Some of the album’s success could be credited to the recording work of famous Fugazi producer, Ted Nicely.  The album’s first single, “Savory,” saw some mainstream success, making the mtv playlists of the mid-90s. Here’s the video:

Such a simple, good song! I believe the Deftones covered it at some point.  They released a second video for their single, “Cooling Card,” as well - an equally great tune that had lesser mainstream airplay. Here’s the video:

I really love that song. My favorite track, however, has no accompanying music video; it’s called “Motorist.”  Check it out:

As said before, it’s hard to find something wrong with this album. It's not only one of the better classics of the genre's greatest music scene; It’s one of the best of the genre, altogether. This one’s for all collections; check it out in its entirety:

Jawbox's For Your Own Special Sweetheart (1994)

The band released one more self-titled full length with Atlantic in 1996 before finally disbanding in 1997.  There was one post-breakup release as well entitled My Scrapbook of Fatal Accidents (1998 Desoto Records), but nothing compares to For Your Own Special Sweetheart...  J. Robbins and guitarist, Bill Barbot, joined fellow former member of Government Issue, Peter Moffett, to form the indie rock act, Burning Airlines - a band name inspired by one of my favorite musical alchemists, Brian Eno (from his song “Burning Airlines Give You So Much More” from the album Taking Tiger Mountain By Strategy [1974 Island Records]). The band's worth a listen as well; they play tasteful, poppy rock’n’roll and released some solid 7"s with other poppier acts such as Braid and At the Drive In. I believe the band disbanded sometime in 2002; I recommend the first of their two albums, Mission: Control! (1999 Desoto Records); check it out:

Burning Airlines Mission: Control! (1999)

Post-Hardcore Journals - Entry 2 - What Happens When Chicago Jazz Disrupts the Trajectory of a Genre? Abilene, Radio Flyer, Sweep the Leg Johnny, and Check Engine... Duh!

So it’s been a long time since there’s been an update here at art/into/pop.  February was my digital vacation month, but I’m back and have great plans for some future postings. February was a meaningful month musically speaking.  I picked up some great vinyl I plan on sharing on the site in the upcoming weeks and saw some great shows - including performances by two indie rocker legends: the-one-and-onlys Thurston Moore and Stephen Malkmus. Thurston was great in a I’m-50-but-still-rock-like-a-sardonic-hipster kind of way, and Malkmus was.... eh... well, let’s just say I heard the Jicks were having a pretty sloppy-good time backstage before going on...

Post-Hardcore's Master of Ceremonies: Ian Mackaye - There's really no reason for this pic considering I haven't dared touch upon the behemoth DC scene on the blog... I just like the pic....

F. Erskine

I want to continue my focus on the essentials of Post-Hardcore - the last such posting being on the New York rockers, Helmet and Quicksand.  This time I want to shift focus to another equally significant musical cityscape - the midwest’s windy city. Chicago post-hardcore had a distinctly jazzy take on the genre, which is no surprise I guess.  Take, for example, the shortlived project, Abilene - a band started by a Chicago non-native, Alex Dunham of Hoover and Crownhate Ruin fame. He formed the band in Chicago sometime in the late 90s and was quickly joined by former Hoover bandmate, Fred Erskine, who played trumpet for the group.  There was an earlier posting on their previous, DC-based band where I claimed Hoover to be one of the all-time best Post-Hardcore acts; their sole full length, The Lurid Traversal of Route 7 (1994 Discord Records), is an absolute essential for Rock collections - up there with the best moments of early-90s Fugazi.  

Abilene is amazing as well - one of my personal favorite listens right now, and it’s the jazziest addition to both Dunham’s and Erskine’s impressively vast discographies.  I’ve only tracked down one full length by the band, so I’m a little ignorant of the entirety of their catalogue.  They released the album, Two Guns, Twin Arrows (54-40 Or Fight! Records), in 2002, and it’s an album that will leave listeners demanding more.  Here’s the second track, “Blanc Fixe”:

That’s definitely jazzier than even June of 44!  The album showcases Erskine’s trumpet playing more than any other previous project, and that’s due to the open, experimental nature of the band’s song structures - there’s more space for soloing and developing melodies.  It’s really great material. Check out the song, “Fellini”:

Ah, there’s the post-hardcore roots!  The song’s still jazzy and improvisatory, however. “Fellini” is probably more accurately representative of the album’s avenue of sound - although their sonic roadmap does lead to auditory ventures far removed from the typically expected, DC-influenced conventions of 90s post-rock.  Abilene concludes the album with a mellower jam entitled, “Solidarity”:

I really really recommend this one! If you like the sounds of previous posts such as Hoover, June of 44, Rockets Red Glare, Sharks Keep Moving, or Half Visconte, check this out!!

Abilene's Two Guns, Twin Arrows

Now sometime before Abilene’s run, Dunham formed another short-lived, Post-Hardcore project with some Chicago cohorts called Radio Flyer.  The group released one full-length in 1997 called In Their Strange White Armor (Polyvinyl Records); it too was mellower and jazzier than typical 90s post-hardcore - although its jazz overtones remain more subtle than that of the later Abilene...  Here’s the song, “Ice Cream Cheater,” from their sole album:

It’s a solid album by an unfortunately short-lived project; definitely check them out:

Radio Flyer's In Their Strange White Armor (.rar file)

Sweep the Leg Johnny live

Now I mention Radio Flyer briefly - mainly to note that Dunham collaborated with another Chicago rocker, Kevin J. Frank (from Sky Corvair, Traluma, etc.).  More recently, Mr. Frank has played with guitarist, Chris Daly, in the post-hardcore project, Haymarket Riot - another solid, Chicago-based band that’s worth a listen.  The group, however, does not display as much jazz-infused influence, which contradicts my original thesis, and instead of adjusting my claim, I’ll opt to suppress the facts - like any good politician or pundit would do - and spend no time showcasing their music.  My purpose is to make a connection to my next band of focus - a group started by the same Chris Daly in Chicago sometime in 1996.  The guitarist met saxophonist, Steve Sostak, and they started the experimental, Post-Hardcore project, Sweep the Leg Johnny.

Man, I used to think Johnny was such a badass! I bet Daly and Sostak did too.  Someone should remake Karate Kid from his perspective - about an average teen keepin' it cool as the resident karate kick-ass in a California town until the nerdy, unbecoming kid from out of town shows up to cramp his style - now that's a movie I want to see....

Like Abilene, Sweep the Leg Johnny was jazzier than their coastal contemporaries.  Unlike Abilene, they were more mathy and more frantic as well- often rocking at a faster, poppier pace.  The band consistently and frequently released records until 2002 - mostly on Southern Records.  Their first full length with Southern was released in 1999 and was entitled, Tomorrow We Will Run Faster.  Listen to the magnum opus track, “Rest Stop”:

That song demonstrates well their full range of sound, for Sweep the Leg Johnny could explore the slower, mellower spaces as well.  They were rowdy and frantic, however.  For instance, here’s the most popular track, “Bloodlines,” from their next full length with Southern Records, Sto Cazzo (2000):

Their finest, most mature recording was their last album, Going Down Swingin’ (2002 Southern Records).  Much of the album’s material was re-recorded songs from previous releases; “Rest Stop,” for example, was recorded again for the final Lp. One of the newly recorded songs was the track, “Only in a Rerun”:

That song features some of my favorite moments of Sostak’s sax work (check it out around 2min. 20sec. onwards.... awesome!!!)  Another favorite is the re-recorded gem, “Blizzard of ’99”:

That song’s on the mellower side as well for Sweep the Leg Johnny.... The band broke up sometime in 2002, but Steve Sostak teamed up with Chris Daly to continue their work in the short-lived project called Check Engine.  The band released only one self-titled album on Sickroom (Lp) and Southern Records (Cd).  I could find no samples of the band’s work on youtube or bandcamp, but if you like the more developed material by Sweep the Leg Johnny, then you NEED to hear this album; it’s must for sure.

Sweep's Tomorrow We Will Run Faster

Sweep's Sto Cazzo

Sweep's Going Down Swingin' (.rar file)

Check Engine's self-titled album

The Post-Hardcore Journals - Entry 1: Helmet’s Vinyl Reissue of Meantime as well as NYC’s Quicksand and Handsome

NYC's Helmet

Enough with all the pansy Emo crap on a website that proves to be questionably artsy time and time again!  It’s time for someone to post some manly metal for once.  What’s inspired this shift of focus my readers?  Well, the newly remastered vinyl reissue of Helmet’s breakthrough masterpiece, Meantime (1992 Interscope Records), of course.  I just grabbed my copy the other day, and yes, it sounds amazing and heavy as ever.  (They recently rereleased their debut, Strap it On [1990 Amphetamine Reptile/Interscope], as well....)

Helmet formed in 1989 in NYC, disbanded in 1998, and then reunited in recent years.  The frontman, Page Hamilton, previously played in the Noise Rock group, Band of Susans, before forming Helmet.  Like the Melvins and other post-hardcore noise bands, Helmet rode the commercial coattails of 90s Grunge rock success, receiving a 1 million dollar signing bonus for their debut recording sessions with the corporate behemoth, Interscope.  In this context, they recorded and released one of Post-Hardcore’s finest albums, Meantime (1992 Interscope).  The opening title track, “In the Meantime,” was recorded by the kingmaker of noise rock, Steve Albini.  Andy Wallace, famous sound engineer for groups like Nirvana, mixed the track, causing so much controversy and conflict with Albini that the producer insisted that his future contract with Nirvana (for recording In Utero) stipulate that Wallace would have no part in the mixing process of the album.  Apparently, the dispute had much to do with Wallace’s post-production tweaking of John Stanier’s drum sounds; personally, I love the sound of Stanier’s drum hits....  Here’s the opening track, “In the Meantime”:

Gotta love those staccato metal riffs!  My favorite track on the album is the song, “Give It.”  I love its more lackadaisical rhythms; check it out:

The most famous song of the album is the successful single, “Unsung”:

Is it a stretch to say I hear similarities here to Stoner Rock acts like Homme’s Kyuss or the Queens of the Stone Age?  I think the case could be made.  That's something I've only noticed in recent years...  Helmet’s early albums are definite classics, and the vinyl reissue of Meantime is an undisputed must-have.  Check out their third full length, Betty (1994 Interscope Records), as well; it’s equally as good as Meantime.  Here’s the opening track, “Wilma’s Rainbow”:

Helmet's Meantime

Helmet's Betty

NYC's Quicksand

Quicksand was another staple of the New York Post-Hardcore scene.  The group formed in 1990, and all members had participated in previous projects of the infamous, tough-guy Hardcore scene of NYC.  Frontman, Walter Schreifels, played in Gorilla Biscuits and Youth of Today, for instance, before forming Quicksand.  Also, Alan Cage was in Burn, and member, Tom Capone, played in the Hardcore act, Bold. Quicksand, however, was a very different project from all their previous acts.  There is a maturity and melody to their music that was never developed and explored in the aforementioned groups.  Quicksand was a later endeavor by smarter, more seasoned players, and their music resisted the complacency of hardcore cliches and conventions, making Quicksand one of the innovative pioneers of the Post-Hardcore movement.  Their debut Lp, Slip, is an undisputed classic, equal to Helmet’s Meantime in terms of significance and influence.

Here’s the most popular, successful single, “Fazer,” from the debut album, Slip:

Quicksand often reminds me of another Post-Hardcore pioneer: San Diego’s Drive Like Jehu; I’ll post on the California legends as well at a later date.  Here’s another great song from the debut full length; it’s called “Dine Alone”:

Quicksand only released two full length albums before disbanding in 1995.  (The band did reunite in 1997 only to break up again in 1999 without releasing any new albums.)  Their 2nd full length was entitled Manic Compression (1995 Island Records), and it’s another intelligent rock record definitely worth hearing.  It fails to measure up to their debut masterpiece, however, but it’s a worthy addition to the rock library all the same.  Here’s one of the better tracks, “Thorn in my Side”:

Quicksand made a lot of music videos, but they never had the mainstream budget like that of Helmet.  Regardless (or perhaps because of this), they recorded some great-sounding rock records...

Quicksand's Slip

Quicksand's Manic Compression

Helmet + Quicksand = NYC's Handsome

**P.S. In 1996, Jeremy Chatelain and Peter Mengede, one time members of Helmet, joined Pete Hines of Cro-Mags and Tom Capone of Quicksand to form the Post-Hardcore supergroup, Handsome.  They recorded one self-titled album in 1997 with Sony Music Entertainment, and they quickly disbanded in 1998 to form other projects. (Chatelain, for instance, went on to play in the indie rock group, Jets to Brazil...).  Handsome recorded a really solid rock album that’s worth a spin, but it’s no Meantime or Slip.... Here's the opening track, "Needles":

Handsome's S/t

Emo Diaries - Entry 6: Selections of Midwestern 90s Emo - Christie Front Drive, Boy’s Life, Proudentall, & Split Lip

Denver's Christie Front Drive

Christie Front Drive was an Emo Rock band that formed in 1993 in Denver, CO.  The band was fronted by the indie rocker, Eric Richter, who has continued to play and release music, most notably the groups Antarctica, The 101, and currently Golden City. Other members have continued to play in various projects as well. The band’s career was relatively short-lived, for they broke up by 1997 and released 1 self-titled Ep, several 7”s, and 1 posthumous full-length entitled Stereo (1997 Caulfield Records).  The full-length album was recently remastered and re-released in 2010 on Magic Bullet Records. 

The band was one of the great staples of the 90s Emo renaissance, up there with previously posted legends such as Braid, Cap’n Jazz, and others, and the album, Stereo, is an absolute essential for all rock collections.  I couldn’t find any studio-tracks on YouTube, but here’s some live footage of the 2nd track off the full length, “Radio”:

The show must be a reunion concert.  Here’s another classic performed at the same show; it’s the track “Seven Day Candle,” also found on their posthumous Lp:

Christie Front Drive was a major influence on the genre; it’s a must have for appreciators of 90s Emo Rock...

http://www.mediafire.com/?ecegnyxdfob

Kansas City's Boy's Life

Boy’s Life was an Emo band out of Kansas City, Missouri that formed in 1993; they actively released records until 1996, including 2 albums, Boy’s Life (1995 Crank! Records) and Departures and Landfalls (1996 Headhunter/Cargo), several 7”s, and a split Ep with the above Christie Front Drive (1996 Crank! Records).  The band had a short, but prolific, recording career, and members went on to participate in other significant projects, such as Canyon (a band that featured a member from the previously posted-about group, Crownhate Ruin) and Lullaby for the Working Class (a supergroup of sorts which featured members of Cursive and Bright Eyes). Both full lengths are great, but their first self-titled release is a definite essential.  Here’s the opening track, “Golf Hill Drive”:

And the album keeps rockin’.  The 2nd song doesn’t drag the pace at all. It’s called “Tucked In”; check it out:

Boy’s Life seems closely connected in both sound and spirit to the roots of modern, 90s Emo: DC Post-Hardcore.  I hear a lot of Fugazi influence here, for sure.  Check out the next track on the self-titled album, “A Quarter’s Worth”:

What great start to an amazing album. Definitely listen to the entire release; it’s a quality rock record.

Boy's Life Self-Titled

Kansas City's Proudentall

Proudentall was a another Midwest Emo group from Kansas City, MO that formed in 1996. They played their first live show with the aforementioned Boy’s Life and continued to tour with other legends of the 90s Emo era.  Like much music of the KC scene, their songs are mathy, at times noisy, as well as emotional.  They released some 7”s, one being a split with the Anniversary, and one full length album, What’s Happening Here (2000 Caulfield Records).  The album displayed great promise, but the band broke up unfortunately shortly thereafter.  I could not find music samples on YouTube or BandCamp, so I have no video preview to provide; I apologize.  I recommend taking a risk on this; check out the link.  A highlight on the album for me is the track, “Untitled with Mike and B”; it reminds me of the previously posted Sharks Keep Moving.

What's Happening Here

Indiana's Split Lip

Split Lip was a Midwestern Emo band of the 90s that formed in Indianapolis, Indiana around 1990.  Like many bands of their milieu, they started as a straight-edge group with an unimpressively typical sound of late 80s hardcore.  In the early years they were grouped with bands like Endpoint, Youth of Today, Gorilla Biscuits, Bold, etc.  Once the band signed with Emo-oriented label, Doghouse Records, their sound evolved melodically and emotionally, putting them at the forefront of the 90s Emo Rock phenomenon. They released their first full length in 1993, For the Love of the Wounded (Doghouse Records), an album that helped define a new generation of emo-core conventions; their breakthrough release, however, was the sophomore full length, Fate’s Got a Driver (1995 Doghouse Records); the record dramatically influenced the upcoming generation of Doghouse emo bands (I’m thinking of groups like the Get Up Kids, here...)  Here’s the great opening track, “Her Side of Sundown,” from their the album, Fate’s Got a Driver:

Shortly after, however, the band changed both their name and their sound, calling themselves Chamberlain and opting to explore more country-influenced music.  The band’s new name was taken from a Split Lip song off the same album as the above track:

Chamberlain re-recorded the last Split Lip Lp to reflect their newly decided direction in musical composition; personally, I prefer the rawer, more emotive Split Lip version (and I do like Alt-Country bands...).  Chamberlain remained active until 2000, and members have continued to play and record in the music scene.  Drummer, Charlie Walker, apparently participated in side project, Institute, with Bush’s Gavin Rossdale, and now plays with another legendary, emo-punk band, Samiam.  Both Adam Rubenstein and David Moore have released solo albums as well.  Both Split Lip and Chamberlain are good rock bands worth checking out.

Fate's Got a Driver

Chamberlain 1996-2000 - Part 1

Chamberlain 1996-2000 - Part 2