Y Pants - Y Pants

y pants' self-titled 7"

Y Pants is a all girl post-punk band that makes music from toy instruments. I don't really know what else there is to say about them.

Y-Pants - Y-Pants (1980)

Moss Icon - Hate in Me

moss icon's self titled 7"

you were visiting a house that's been sealed for a 1000 years.
little crayon scribbles, a white truck on a string.
you were standing there with your plaid and your favorite things.
but now your sleeping or fucking or something.
- moss icon - 'i'm back sleeping, or fucking, or something'

Oddly enough I wrote this first paragraph after the rest. Lyrically I just don't think I can think of a more appropriate example of the topics of early emo records then 'I'm Back Sleeping, or Fucking or Something' because in reality every person has been kept awake thinking about what happened to those that were lost due to whatever situations may arise throughout life. The romantic undertones that are embodied in the song title deal with the futility of things and the fact that the two things he mentions are sleeping and fucking have to resonate in everyone. I guess what I'm saying here is that Moss Icon lyrically have to be the most superior of those early emo bands because they are so easily relateable, but at the same time extremely deep. Perhaps this is just an attempt for me to relate to someone else who is constantly thinking about those people that have passed me by and what they are doing at the moment. Sleeping, or fucking or something .

Moss Icon is almost always associated with emo usually getting placed somewhere between Rites of Spring and The Hated. 'Hate in Me' as a 7" is a perfect slab of late '80s hardcore where you can feel the move of progressive mixed with a attachment to a long stagnant scene. Moss Icon certainly wasn't reaching the more lengthy heights that their later records would embrace on 'Hate in Me' and that more appropriately helps describe how this 7" really gives off that early DC hardcore sound. Oddly enough according to bidhardcore.com (great piece of this 7" here) the members of Moss Icon said that those bands (Embrace, Rites of Spring) had little impact on their sound. Further goes to show you that this sound was clearly the next progression of hardcore music and that it was popping up everywhere in the late '80s. Musically this record is mostly enjoyable because of the extremely melodic guitar and the vocalists great performance. Unlike The Hated or Rites of Spring John Vance wouldn't come off like he was wailing until his group's later records, here he sounds like the perfect vocalist for this music. His scream isn't restrained, but his knack for filling these otherwise simple tracks with impassioned lyrics that perfectly fit the feel of these tracks is one of a kind. 'I'm Back Sleeping, or Fucking, or Something' remains as one of my favorite songs of this genre and this record in general is probably the best example of the early Moss Icon and emo sound.


Moss Icon - Hate in Me (1988)

Punch - Eyeless EP

punch

i had heard about punch through a variety of facets. seeing Loma Prieta lots of the merch was present, Ghostlimb gave them a few shout outs when i saw them in Seattle, and when i went to see Portraits of Pasts in late December the group also got some mention. after hearing about them from so many great bands i figured that there must've been something legitimate about the group. after hearing this 7" i realized what a mistake it was to not check out the group earlier. a combination of thrash, '90s hardcore, and grind-like rhythms Punch is definitely one of the more aggressive and interesting throwback groups currently playing. of course, the main draw point for many is the female vocalist Meghan (what's up with Meghan's in hardcore?) who is certainly a great front(wo)man and brings the perfect compliment to the already fericous enough music. lyrics center around the dislike of California society or rather society in general, but the success with Punch mainly comes from their ability to as i constantly say about bands to draw on new and old trends in music. if you have interest in hardcore, this is definitely a recommendation.


Punch - Eyeless EP

Unwound - Corpse Pose / Everything is Weird

The task of making one great record is not as difficult as it seems. While, I'm not trying to say that creating an expression of art is an easy task I believe if one is artistically inclined then they can easily craft something great throughout their career. What is hard in the realm of music is to remain a relevant and respected act. The band in my eyes that represents a continual sound of progression paralleled with a linear sense of quality is Unwound.

'Corpse Pose' in essence represents Unwound's complete sound pre-Leaves Turn Inside You. Combining angular guitar riffs that seem to illicit Gang of Four with the steady monotone of Justin Trosper the track comes off as the bridge between the aggressive Fugazi minded post-hardcore and the more laidback an artistic nature of post-punk groups like Sonic Youth. Unwound simply being described as the meeting point of Fugazi and Sonic Youth would probably be a better relation, but who really cares. 'Corpse Pose' is especially accented but some very heavy synth playing that helps draw out the melodic nature of the song's chorus in a very subtle yet intelligent way. B-side 'Everything is Weird' is far less structured than 'Corpse Pose' and as a fellow reviewer says "('Everything is Weird') is also awesome, with lots of stabs and a krautrocky ending drenched in xylophone & vibraphone; think Black Flag meets Philip Glass." If you are interested in more Unwound Time Isn't On My Side recently posted the band's supposed magnum opus 'Leaves Turn Inside You'.


Unwound - Corpse Pose / Everything is Weird (1991)

Goodbye, Blue Monday - 7"

goodbye, blue monday's self titled 7"

I am originally from Pennsylvania. During my search for various emo bands I've invested time in finding groups that originated there. Frail, The Spirit Assembly, Ethel Meserve all of these bands have been groups I've grown to love mainly because of their association with my home state. Goodbye, Blue Monday is an off shoot of Frail in some form. I originally got this record from a blog post on Used Bin Forever. The album represents that midwest emo sound that is so prevalent in many Pennsylvania bands like Frail and Ethel Meserve. The group isn't as spastic as Cap'n Jazz or Spy vs. Spy instead relying on building up more melodic portions in the style of more indie based groups like Mineral and The Get-Up Kids. Great pretty unknown record though. 'Chicago Coin' is clearly the highlight.


Goodbye, Blue Monday - Goodbye, Blue Monday (1996)

I Hate Myself - 2 Songs

i hate myself's '2 songs'

I Hate Myself was a Gainesville emo band. their claim to fame seems to be the penchant the band had for satire and how they incorporated it into their image. I Hate Myself played subued hardcore that is reminiscint of Saetia in the angst department. this seven inch is less layered than their other releases and instead is very simple both in composition and production evoking a Mineral type feel. Two tracks are on this record. 'Drama in the Emergency Room' is a slow building track that jumps between loud and quiet dynamics before finally collapsing in the final repetition of "doctor". 'Darren's Roof' is a brooding counterpoint to the more strung out 'Drama in the Emergency Room'. distorted verses make up the majority of the track. the guitar playing on this record always seemed to remind me of Modest Mouse in some ways 'Darren's Roof' especially the track feeling like a more menacing 'Dramamine' both in sound and topic.


I Hate Myself - 2 Songs (2000)

The Drones - Custom Made

seven inches represent an "extended play" for artists. in my opinion the seven inch is probably the hardest format to make a great record on because you don't have time to develop a running sound. where on a full album artists are able to throw in some filler between two great songs that isn't a possibility with seven inches. that is why i've decided to examine a seven inch weekly on here supposedly every sunday evening. i doubt this will actually occur as even the first post is being constructed past the "due date.", but who really cares. hopefully this will provide more great music for the few people that indulge my lengthy discussions.

the drones' 'custom made'

the first seven inch i'll be posting will be a recently materialized idea on ATP Records called Custom Made. it is basically a series of seven inches that will call for its roster of bands to put together a four song sampler with new and old material as well as covers. the first band to be involved with the series is a group that goes by the name The Drones. in my opinion, probably the best "rock" band currently active. The Drones hail from Australia where they've mashed a variety of sounds into some kind of cohesive devotion to American blues with a hefty amount of influence from groups like The Birthday Party. Neil Young styled guitar leads are all over their plethora of records, but the differences between 'Gala Mill' their latest and their debut are vast. 'Gala Mill' was a collection of expansive Australia folk lore while 'Here Comes the Lies' was essentially a blues cover album by a group that adores feedback. 'Custom Made' contains examples of all of these sounds opening up with a great remake of 'Cockeyed Lowlife of the Highlands'. Dissonant guitar lines abound the song introduces us to the aggressive side of The Drones with vocalist Gareth Liddiard howling his oddly cockney accent all over the track. Psychedelic guitar fills abound the song explodes into the next track 'I Don't Ever Want to Change' from 'Gala Mill. 'I Don't Ever Want to Change' is basically the hit of this record. It has a pop structure with a relaxed verse that explodes into a raging chorus. Commentary of the lyrics point to Liddiard commenting on a specific type of Australian who seeks peace in nature from their self destructive urban life. The track is a superb addition in terms of segue the noiser side of The Drones into the more composition based side of The Drones. 'I Drink' a cover of Charles Aznavour's 'Je Bois' is a track only The Drones could play. The track stutters in a variety of angular rhythms while Liddiard recounts his past indulgence in liquor. Finally we have the closer of this seven inch set, a ballad in only the way The Drones could do 'Shark Fin Blues'.

the drones' 'shark fin blues'

Every second of 'Shark Fin Blues' has purpose. From the cascading guitar intro to the bridge of las. This track is truly one of The Drones' finest moments and where it truly succeeds is in the lyrics. Liddiard sets the stage of some type of shipwreck with the narrator looking on,

'a harpoon's shaft is short and wide
a grappling hook's is cracked and dry
i said, why don't you get down in the sea
turn the water red like you want to be?

'cause if i cry another tear i'll be turned to dust
no the sharks won't get me they don't feel loss
just keep one eye on the horizon man,
you best not blink they're coming fin by fin
until the whole boat sinks.'
-the drones - 'shark fin blues'



The Drones - 'Custom Made' (2007)