The K Mail Order Dept. is offering up a special CD Safari: Noisy Pop Rockin’ Debuts, put together by Calvin Johnson of first albums by artists important in the world of K and Olympia Underground sounds. The guitars are spinning, rock’n'roll is winning; the noisy pop rockin’ here is likened to being shot from a cannon into the stratosphere, some of the premiere on-the-edge-of-your-teeth underground bands we’ve had the honor to work with at K! You receive all ten compact discs for the reasonable price of $15.00, and here they are:
Wandering Lucy Leap Year CD [KLP053]
Eccentric Canadian singer of guitar and drum machine songs Lindi Coyne lands in Olympia (mid-'90s!) and recruits Brian Sparhawk (Fitz of Depression) and Fred Armisen (Trenchmouth) to record this unusual dream state of noisy pop rockin' at the basement Dub Narcotic Studio with Calvin Johnson.
D+ D+ CD [KLP072]
Bret Lunsford's post-Beat Happening musical life took shape with the Anacortes-centric combo D+, featuring a young Karl Blau and even younger Phil Elverum; their debut album was recorded by Calvin Johnson at Dub Narcotic Studio, Olympia, Washington. Read more about D+ in the all-Elverum issue of the F.I.B. fanzine, #12 .
Treepeople Guilt, Regret and Embarrassment CD [KLP069]
Boise, ID. and all it means to us now came from this album, the 1990 debut by a powerhouse punk band that relocated to Seattle in the late '80s. Treepeople were a massive inspiration on a generation of Olympia bands including Unwound, KARP and Heavens to Betsy. Band members Doug Martsch, Scott Schmaljohn, Pat Brown and Wayne Flower went on to Stuntman, Violent Green, Halo Benders and Built to Spill.
Tender Trap Film Molecules CD [KLP126]
Amelia Fletcher, DJ Downfall and Rob Pursey arise from the surf following the submerged Marine Research (which followed Heavenly and Talulah Gosh) to form a brighter, more maneuverable craft. Film Molecules is their shiniest moment, including the effervescent "Oh, Katrina".
Jeremy Jay A Place Where We Could Go CD [KLP187]
The reduction of pop music to it's core attributes of the catchy and the delightful, with a smattering of the fantastic mixed in, and an urbane sense of color and good taste: this is the reputation that Jeremy Jay has earned after releasing several 45s and albums on K. His debut album A Place Where We Could Go [KLP187] was awaited with bated breath, the initial installment in Jeremy's rapidly growing oeuvre stamped throughout with his trademark infectious dance pop anthems and the introverted, fantasy-laden elements of his inner psyche. A simply ravishing combination equally at home on either the dance floor or AM radio. Recorded by Calvin Johnson at Dub Narcotic Studio, Olympia, Washington.
Gaze Mitsumeru CD [KLP080]
Gaze: the new wonder in pop. Hailing from the north, Vancouver, B.C., where most music is made in the garage, Gaze are more attic-style, souvenirs and memories held up to a different light. Here's a whole album's worth, fourteen songs of the kinda sadness/gladness Gaze set to motion. Miko Hoffman, Megan Mallett (in photog, above), and Rose Melberg bend deep powder borne songs into harmony and humming form. Short bursts or super furry, quite contrary, voice, guitar, bass, drums.
Dub Narcotic Sound System Industrial Breakdown CD [KLP039]
The first compact disc by Dub Narcotic Sound System, in 1995, it was released as 12" single in England by the Soul Static Sound label (Rough Trade Shop). These are some of the earliest recordings from the nascent basement Dub Narcotic Studio featuring a completely different (+longer) version of "Industrial Breakdown" than found on the Dub Narcotic Disco Plate [DBN105]. The secret weapon of this release is "Run Silent, Run Deep" and it's dub version"The Beat from 20,000 Fathoms", a melodica-and-toast celebration of the entire Dub Narcotic madness-as-a-method.
All Girl Summer Fun Band All Girl Summer Fun Band CD [KLP130]
The All Girl Summer Fun Band Make a Joyful Sound! Kim, Ari, Kathy and Jen (also of our lovely Softies) have come together forming a powerful pop majesty. Dream girl mod action recorded by Calvin Johnson at the Dub Narcotic studio, it's the ultimate in groovilicious guitar wonder-chimes. There are elements of girl group, punk and Britpop; long distance boyfriends, oversized cell phones and cars that don't start. Confectioary Grrr Grrr Grrr.
C.O.C.O. C.O.C.O. CD [KLP118]
C.O.C.O. is a duo comprised of Olivia Ness on bass and vocals, and Chris Sutton (of Hornet Leg and Dub Narcotic Sound System bassist extraordinaire) laying down the drums and additional vocals. Olivia’s voice is soulful yet understated, sultry and steady, a highly melodic component which color her fat ‘n’ funky bass pulses. Chris gets busy on the traps with a highly percussive approach; nailing the beat straight into the floor, he’s prone to sail into polyrhythmic flights of fancy with his entire kit utilized. His vocal interplay, often spoken, cleverly balances the tunes with an excellent subtle contrast. Minimalist in construct and approach, the emphasis lies on the heady grooves being laid down, augmented by sexy soul singing and early hip-hop styled shout-outs. Coming to mind are ESG and The Meters, if they were stripped naked; or perhaps the telepathic rhythms laid by Holger Czukay and Jaki Leibszeit of Can if they were isolated from the rest of the group. Elements of dub soar through the mix, most notably on “Beatdown”, lending some trippy spice to their funk stew. C.O.C.O. definitely have got the chops and they’re taking it to the dancefloor. In this day of dance clubs dominated by techno, C.O.C.O. could strike a chord in people searching for vintage funk and soul in a modern group for their boogie fix. Their sound is not foreign to indie rockers either. Minimalism is celebrated and rhythm is heralded. Do you remember how to do the caterpillar?
Wolf Colonel Vikings of Mint CD [KLP107]
Vikings of Mint is the first album from Wolf Colonel, led by Jason Anderson (vocals, bass and guitars) with Adam Forkner on drums (Adam fronts Yume Bitsu with Jason on drums). Produced by Brian Weber (DNSS) at Dub Narcotic Studio over three days, during which Jason refused to leave the studio, sleeping and eating there, until the album was finished.