Hemingway / Triumph of Lethargy Skinned Alive to Death - "split" on Dead Accents

Hemingway Side - Right out the gate, Hemingway gots a nicely composed, symmetrical little ditty. a music-box melody, so innocent and true, softening you up for what Hemingway do. They jam on the right, they slam in the left. Screeching and wailing, til we all got deft. They strum and they scream, they pound it in pride. They twiddle and sing, I laughed and I cried. These are just classic H/way cuts. heavy guitar/bass jams coupled with a bunch of loop frenzies and shane going on adrenaline freak-out and microphone-eating spazz attacks. plus you got some weirder, polished studio edits quite different from the chaos they play live.

Triumph of Lethargy Skinned Alive to Death Side - Some pretty stark tunes for a band with such a long-ass name. dismal oddities of meandering loops of guitar/drums/other. Nullified lounge music for the mentally unstable, or perhaps the soundtrack to your unfruitful pathetic loser life of futile endeavors and unfulfilled dreams. It took a few listenings' just to begin to appreciate the  bleak revelations of despair communicated on this tape.  My affection grows more and more each time I listen, that is, until the vocals in the last track kick in front and center. Dude sounds like some washed up, burnout, Jello Biafra wannabe. It kinda sounds like this guy may have been someone back in the day; and these guys must just suffer from some dick worship of their idols from yesteryear and invited his hasbeenness to belt out on the track. minus the vocals and this tape would be tits.

Demian Johnston - "rhey of guernica" on Dead Accents

Demian's screen printed cover is this iconic drawing of a skull with a dripping jaw, crucified on an upside-down anarchy symbol. There are T-shirts sporting this logo on them somewhere out there as well. bad ass.

A1 - some sorceristic sludge, slow like molasses, and o))) so heavy. aggravated vocal rasps set against mammoth  low-end riffage of grueling feedback. a faint and simple drum beat turns it into an anthem of wide open Doom.

A2 - melodic guitar-picking loop builds layers and drones to create a gentle breeze rustling through a delicate wind chime effect. slowly over time, more and more tender guitar creaking woes are introduced to the ever so softly repeating wall of loops. The collage builds up steam, feeding off of errand pick-up disturbances and interrupted fret damage. It's a real sleepy jam and the tracks' dub'd kinda low, so have it cranked or you just might miss it all.

B1 - Ominous swellings of progressive power-chord dronage drive into deeper and darker waters. That wind-chimey guitar loop eventually works its way back into the mix and its like dejavu, nostalgically evoking  flashbacks of your old haunts on side A. Heavy.

B2 - When you get your hands on a copy of this tape, just ffw to the middle and flip it to side B for immediate satisfaction. Joined by Andrew Crawshaw on drums, DJ pulls out a most righteous offering of slow death. This track is your master, you are the willing slave begging for a long stint of slow, steady beating. And just when it it's starting to climax; the tape's over. Awe fuck! Easily my favorite Demian Johnston hit ever. gimmie more. more more more more more more more of this.  

The Insect Explosion - difficulty without direction - on Dead Accents

The Insect Explosion is rad. Digitally slowed at times to give the drums just the right amount of that glitched out echoverb sound. Dank, distorted cavernous bass grooves crush overdriven drum-machine loops. build ups to sludgy breakdowns give way to drone layers that create an interesting, perhaps epic industrial doomspazz album. White c97, light-defusing J-fold, same 10 tracks on each side. For Fans of The Melvins and Phantomsmasher.

Demian Johnston "fallen timbers" c51 out on Dead Accents

Dead Accents have output a steady stream of highly coveted low-run releases over the past few years, but I've taken a real shine to this one. The labels co-founder, Demian Johsnston picks up his guitar and does no wrong. With no guitar picking wankery or noodle-neck fretting, Fallen Timbers is a nice long sprawling drone induced by long-term exposure to the cold and grey Seattle winters. His guitar gently weeps mournful shoegaze sorrows of pure Black Doom. The track was recorded live by label mate Andrew C in front of a live audience, but you wouldn't know it if it weren't fer the applause at the end. Timbers Fallen is much shorter, and credited as being made up of live sound clips. It pretty much sounds like the same stuff, like maybe it was made of of a few clips of the practice jams before the show. It's a cleaner & crisper recording that finds its way into a slightly heavier reign. Got to be the most exemplery Demian Johnston recording out there if you ask me. Program repeats on the B-side. Only 23 exist and they rule.

Megabats "introvertical" cs out on Dead Accents

Seattle's Nintendo DS jocky duo Megabats offer up two slabs Bliss Drone Wall on a nicely pro-dubbed orange cassette tape. I'm not sure which side is which anymore but they both sound fairly similar. A long, soft, wavery mid-tone on top of a much softer, lower bass pad send you falling into your subconscious to unlock forgotten memories. Chasing old shapeless ghosts on a hazy astral plane, you awaken from your trance only to flip the tape and immediately slip back into your special place. Dead Accents is down to the last few out of 50 of these so get in where you fit in.

At Jennie Richie "so far out" tape out on Dead Accents

get it for 5.99 at DA

Where do I even start with this one!? I'd like to point out that this cs has like zero tape-hiss. The opening track starts off with some phono noise and immidiately begins you on a surreal journey through some fck'doff samples and loops complete with strange lo-fi perrifreal chatter. Its oddy compiled and executed with certain skill but there seems to be some sort of paradox here. The whole tape sounds like some weird ass Nurse with Wound remix. There are moments of what sounds like laptop glitches, but those moments are thankfully fleeting. The first side even ends with a techno-esq jam that feels pretty out of place in this experimental collage, but yet, it works here. The 2nd side starts off with a TR-505ish snare @ 1/8th notes teamed w/distant degraded knob twirling, repeated for about 8 minutes. Its insane. I hate it, but I have to admit, I found a couple zen moments in there. It eventually gets better, i guess. But seriously, this album sounds too good to sound so bad. There's got to be some sort of inside joke that I'm missing here. The last track on the tape features Seattle's Jason/Red Squirrels, in addition to the AJR members Happiness and Forever, but little difference in sound asthetic can be discerned by my ear. Maybe some extra lo-fi-junk cheapo walkman speaker turned contact mic foolary. I don't know wtf is attracting me to this tape. I hate it but, it feels like it was recorded custom taylored for me to listen to with my own brand of love/hate disposition. Bottome line: this tape looks and sounds great. It's fun to scrutinize as well. You'll prolly wanna play it more than once. There's only 55 copies, and I think you should get one for yourself.  Right here>>>>  Dead Accents