1 (edited by bcore-mailorder 08-03-2017 11:13:47)

Topic: REGULATOR WATTS mercury ep + extras LP, THE SORTS six plus LP


REGULATOR WATTS mercury ep + extras LP

When Hoover separated in 1994, the bands members moved on with different projects. Fred Erskine and Joe McRedmond formed The Crownhate Ruin, while Chris Farral joined Josh LaRue in The Sorts. Al Dunham created the trio Regulator Watts with Cret Wilson (bass) and Areif Dasha Sless-Kitain (drums). The band were only active for a short period of time –from 1996 to 1998 to be precise- but managed to leave us a number of recordings that would play the Champions League in the Washington DC/Dischord scene.
Wilson and Sless-Kitain would build a monolithic rhythmic section where Al Dunhams guitar and vocals could expand and contract, alternating states of emotional explo- sions with others of introspection. As like many other Washington DC bands, RW’s sound brings to mind the likes of Fugazi, Bid Black / Shellac or even Naked Raygun. But there was always something very unique and personal about Regulator Watts. Maybe it’s that characteristic and taunting guitar tone. Maybe it’s Al Dunhams vocals, at times distressing and full of rage, at others grief-stricken and hesitant. Noise, expan- sion, hypnotic trance, explosions of distortion. It is not emotional post-hardcore (nor emo-core); it is existential post-punk, high-octane material.
“The Mercury CD” gathers everything the Regulator Watts recorded before their first and only LP “The Aesthetics Of No-Drag” (Slowdime/Dischord, 1997). The album, to now be reissued by the Catalan label BCore Disc, includes all the tracks on “The Mercury EP”, the single “New Low Moline”, the split single with Stinking Lizaveta, and others that were never released. On the album, Regulator Watts already show the style constants that would make “The Aesthetics Of No-Drag” one of the best albums in Dischords/Slowdimes history. The Washington DC scene was so creatively rich that even relatively unnoticed bands (Autoclave, The Crownhate Ruin, Arcwelder... the list is long) deserve any intent of vindication like this reissue by BCore.

http://bcstore.bcoredisc.com/shop/relea … mercury-lp (free shipping to Spain)

THE SORTS six plus LP (for the first time on vinyl)

Slint, Rodan and Hoover. In the early nineties these three bands became a springboard for many other interesting projects. From the ashes of Hoover raised other bands like The Crownhate Ruin, June of 44, Regulator Watts or the matter in hand, The Sorts. In a scene -Washington DC/Dischord- dominated by highly inflammable post-hardcore bands like Fugazi or Jawbox, bands like The Sorts or Smart Went Crazy presented a more relaxed way of doing, instrumental games, a tiki-taka bass and drums. Fugazi had their ‘kid-from-Washington-imitating-Funkadelic’ moments, but The Sorts (and then The Boom and HiM) turned that intention into their true meaning of existence, both in composition as performance wise. They tried to flee from their punk and rock roots and vindicate other genres like jazz, dub or even psychedelic funk (the fanzines would call it post rock because it was shorter and more fashionable then).
The band started as collaborative project between musician Joshua LaRue (ex-Rain Like The Sound Of Trains) who became singer and guitarist, bassist Stuart Fletcher and drummer Chris Farral (who was a teenage member of Hoover). As the bands career grew (albums released by Slowdime Records or Southern and nonstop tours around the USA, Europe and Japan), The Sorts started opening up to collaborating with other musicians. That is how Joe McRedmond (ex-Hoover and ex-The Crownhate Ruin), Carlo Cennamo (saxophone and member of the indispensable band The Boom) or Vin Novara (keyboards and ex –The Crownhate Ruin) became –more or less- part of the band.
“Six Plus” –album by The Sorts that will be reissued by Catalan record label BCore Discs, originally published in 2003- could easily be a summary of what the band were and meant. It was their last album but is nowhere near the crepuscular mood found in other bands’ last albums (like an overweight Maradona playing for Seville). The band doesn’t sound tired or at loss of ideas, on the contrary, “Six Plus” opens up and closes with two great experiments tried and tested at the studio and a number of excellent instrumental pieces that make listening to the bands albums on a Sunday morning become a massage for the senses. The Sorts –as like other contemporary bands like Euphone, Del Rey, Pele or Billy Mahonie- rocked in a subtle way and made you float among clouds with every listen. With this reissue we will long for them a little less.

http://bcstore.bcoredisc.com/shop/releases/six-plus (free shipping to Spain)


HOOVER hoover LP (previously on Slowdime records)