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viewing 1 To 9 of 9 items
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LP
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LG 009LP
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"Hear the brutal anguish and aural suffering! LG Records has gathered out-of-print and unreleased recordings by two of San Diego's more infamous and obscure punk bands from the very early 1990s onto one blistering split LP. Often remembered merely as side-projects of Heroin and End of the Line, Sloog (aka Slug) and Brain Tourniquet were standalone outfits that were beloved locally but barely made any impact outside of the local San Diego scene. Sloog were heavy, tortuous, and disturbing. Fronted by mysterious and odiferous local character Justinman, Sloog sounded like they could have been the lovechild of Savage Republic and United Mutation. Brain Tourniquet were a younger thrash band who were noticeably inspired by contemporaries like Born Against and Crossed Out. Primitive and sublime, members went on to bigger things, but this was the not-so-humble beginning. The first release for each band was the 1991 Slug/Brain Tourniquet split cassette, released as Gravity Records #0. Copies of this tape were sold at local shows and during Brain Tourniquet's west coast tour with Heroin. Sloog would record multiple demos in 1990 and 1991, and in the end they recorded what became their only vinyl release, 1992's Pigs 7". The material on this LP was pulled together from all of these recordings. Punish yourself with the Slug/Brain Tourniquet/Sloog vinyl LP out now on LG Records. Caution: this record may emit visible stink-lines into the air of your household. 180-gram black vinyl only, 500 pressed."
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LP
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LG 013LP
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"A band with many chapters and an everchanging sound, Shudder To Think's story began in 1986 in Glover Park, Washington DC. Bass player Stuart Hill and drummer Mike Russell had just recruited Chris Matthews to play guitar in their fledgling hardcore band Stüge (1984-86) when they suddenly found themselves in need of a new singer as well. Matthews suggested his friend Craig Wedren for the role. At the audition, Wedren's style clashed with the style of the band's previous singer, but the group all sensed that they might have stumbled into a 'chocolate-in-my-peanut-butter' situation with intriguing potential. The group changed their name and headed into new territory. Side A of this LP is comprised of five songs from one of their first recording sessions together. The tracks chosen are songs that were only released on demo tapes, never to be re-recorded for future proper releases (this version of 'Too Little, Too Late' did appear on the local punk compilation FR-5 in 1987). Side B consists of four tracks that were originally released as their first 7-inch release, the It Was Arson EP, a split release by Sammich/Dischord Records. Included at the end of side B is a version of 'Take The Child' from this session (later re-recorded for their first album in 1988)."
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LG 001LP
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"Before Circus Lupus landed on DC's venerable Dischord Records, the group's original Midwest lineup recorded a full album's worth of songs less than a year after forming. With the demise of DC's Ignition in the late '80s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short-lived throwback punk/hardcore project Fury. Thomson served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Thomson's switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as 'profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.' The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Shrader opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Lorinczi and released on Dischord. L.G. Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California."
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LG 008LP
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"Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides -- along with Green's childhood friend Seth Lorinczi -- the Vile Cherubs were more focused on the then-forgotten sounds of '60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would've remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter/3), who took an interest in the band and recorded their two demos. That first tape caught the ear of D.C. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne'er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, Lysergic Lamentations is the Vile Cherubs at the height of their brief existence."
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LG 004LP
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"Young Ginns began in November 1991 when Unwound was staying at The Embassy house where Nation Of Ulysses guitarist Tim Green lived. Somehow around the coffee table, an idea was conceived to have a 'jam band' in the vein of the instrumental songs of Black Flag and other SST artists. Brandt Sandeno stuck with the drums while Justin Trosper went back to his previous role as a bass player with Green on guitar. A couple fun sessions happened, that sometimes sounded like Black Flag but more like the guitar player from NOU and some Unwound dudes. A few days later Unwound went on their long way back home to Olympia, WA. After NOU broke up, Green packed up, went west and settled in Olympia where Sandeno and Trosper lived. Sandeno had since left Unwound but he and Trosper were always looking for an excuse to play together. Since there was so much free creativity and time bouncing around in 1993 Olympia, the Young Ginns idea was easily reborn in the Red House basement where Green lived and was building up his next studio. Teenaged San Diego transplant Brett Frost decided that the band needed a frontman after witnessing a few practices and wiggled his way into the fold. A couple of local shows and a recording session at the Red House led to a malt liquor and Nyquil-fueled west coast tour with a 7" record fresh off the presses from Gravity records of San Diego. The return to Olympia saw the band writing and rehearsing a couple more new tunes and a recording with Pat Maley at Yo-Yo studios in the Capitol Theater in Olympia. The band split up shortly after as everyone decided to pursue other endeavors. Ironically, the band started as a pretty casual tribute jam band but it burned hotter and brighter like a typical hardcore band with Frost as the wild frontman. What began as a math rock fantasy transformed into a punk rock nightmare. Honeybear released a compilation of all the recordings on CD in 1998. This batch was freshly remixed and mastered by Tim Green at Louder Studios in the winter of 2023."
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12"
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LG 005LP
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"Recorded in 1989 on the remaining ten minutes left at the end of Swiz's Hell Yes I Cheated reel-to-reel and originally released at the time as a 33 RPM 7", this 2023 release presents a 12" 45RPM version remastered by Tim Green with an extra song recovered from the tape archives of Jason Farrell. The brief story of Fury: At some point in 1989, members of Washington DC punk bands Swiz and Ignition formed Fury as a loose experiment with no intentions beyond being a diversion. The band existed for a few months, wrote six songs, and played two shows. Shawn Brown and Chris Thomson switched their musical roles from their regular bands as vocalist and bass player. The eyes-closed leap into those unfamiliar positions imbued the recording its feeling of deranged chaos, while the well-seasoned duo of Jason Farrell and Alex Daniels nailed down each song with the signature agility and power displayed in their more familiar work together. The recording is a vexing listen that sounds like a Neapolitan swirl of Swiz, Void, and The Germs. Was it precision theatre? Or was it a natural step back into a more primitive and comfortable place for four young veterans that just wanted to fill the daily void of existential restlessness? The track 'Resurrection' famously made it onto the final Swiz LP. The final track 'Last One' got cut off halfway through recording and the band looped and spliced it into a dizzying psychedelic nightmare/masterpiece. The recording has faded into somewhat of an obscurity, a footnote to the larger careers of all of its members. In its time, it was revered by a small cult of obsessives from numerous early '90s underground punk circles. It notably had a pronounced influence on the emerging Gravity Records scene, where its echoes can be heard on quite a few of the earlier releases. Resurrection is finally getting the deluxe treatment that it deserves after 34 years!"
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LG 006LP
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"Las Mordidas were a short-lived Washington DC band that existed from Summer 1993 through Spring 1994. The band was comprised of four well-known veterans from the DC punk community: Chris Thomson (Circus Lupus/Monorchid/Ignition), Dug E. Bird (Beefeater/All-Scars/Fidelity Jones), Jon K. (Rain/Chrisbald 96), and Jerry Busher (Fugazi/All- Scars/Fidelity Jones). The Chris Thomson-fronted bands Circus Lupus and Monorchid that bookended Las Mordidas have received much more exposure, but Las Mordidas were no less audacious and uncategorizable. The familiar DC rhythm section of Bird and Busher here are augmented by the unhinged guitar talent of the relatively obscure Jon K. (Kirschten, younger brother of musician Chris 'Bald' Kirschten). Jon was a revered, integral character in the DC scene and played in many well-known bands, yet he appeared on scant few recordings. To fans of the late '80s and early '90s DC scene, this record is an artifact that it arrives out of the blue and demands an ear. A Frankenstein collaboration that both defies and embodies the DC sound of the era. Recorded by Geoff Turner at WGNS in 1994 and Brendan Canty at Pirate House in 1993. Tapes recovered and transffered by Ian Mackaye and Don Godwyn. Mastered by Tim Green at Louder Studios, CA."
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LG 002LP
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"Milk Music was conceived in the late aughts as brothers Alex Coxen (guitar, vocals) and Joe Rutter (drums) drove around the Northwest jamming on tunes in a shitty old Volvo. Inspired by music that their friends were making, the young brothers rented a space, enlisted first bass player Eric Yates, and wrote the songs on this record. Side A begins with the blistering 'Nervous Wreck' -- in and out of tune at the same time, fast but somehow feels slow -- totally fucked. 'Beluga' conjures a deranged image of a mystery whale, as the listener imagines the brothers as Ishmael and Queequeg leaving their hometown of Port Townsend, WA behind on their epic coming-of-age hunt for revenge and white blubber. 'No Life' finds this newly hatched band laying down the mood and sonic foundation that would define them up to this present day. 'Ripped' ends side A with racing, lysergic skate-rat rambling over a thumping mudslide of scuzz. Side B begins with 'Pipeline,' an absolutely massive, almost unbearable eight-minute bong-toke of a song. Bonus crucial early track 'Violence Now' wraps it up with a brutal sonic speed-bag to the groin, leaving the listener reeling and dazed, coughing in a fog of their own crotch smoke. Recorded by Sam Stabler (Sex Vid) in the practice space in 2009 and mastered in 2022 by Randy Randall. On two hundred gram vinyl with a sturdy tip-on sleeve for one's consideration. Includes a poster."
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12"
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LG 003EP
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"Decapitated Lovers was a short lived Washington D.C. side project from the late 1990s that featured Myra Power (Slant 6) on guitar and shirtless local she-thug Speck Brown on drums, along with Aaron Montaigne (Heroin, Antioch Arrow), Andy Coronado (Monorchid), and the elusive North Carolina prop-comic Paul Swanson aka 'Carrot-Bottom' (In/Humanity) who each took turns filling various duties within the group. The band never practiced all together at the same time and played only once at a not-so-legendary birthday party for Allison Wolfe in her urine-soaked living room sometime in 1998. Recorded under forgotten circumstances, the demo has been fermenting patiently for 25 years on a dubbed-over copy of Fidelity Jones's 1989 masterpiece 'Piltdown Lad'. Unearthed by the band after a quarter century, LG Records is proud as can be to present this lost 'gem' on a 200 gram one-sided 45 RPM 12" vinyl pressing housed in a sturdy tip-on style cardboard jacket and printed inner sleeve. The rediscovery of the Decapitated Lovers' hard-core demonic cranium-crushing yet easy going sound will finally legitimize the historically overlooked and underrepresented DC punk scene on the grand musical chessboard and put the city on the map once and for all. Perchance."
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