|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FTR 276LP
|
"The latest stop on the brilliant arc of the Guerilla Toss trajectory, Live in Nashville captures the unpredictable ecstasy of the band in live performance. From the Fat Worm-like form-breakdown of 'Drip Decay' to the irresistibly lop-sided groove of 'Diamond Girls', this is how Guerilla Toss was meant to be heard: very live and very loud. Although they change bass players the way Spinal Tap went through drummers, the core of this Boston combo - vocalist Kassie Carlson, and guitarists Peter Negroponte and Arian Shafiee - have remained a constant through their evolution. Beginning as a wildly anarchic take on the noise-art paradigm, they began to develop their strong rhythmic base almost immediately, and it's still the balance (or imbalance) between these elements that give them their secret power. An amazing concert act, this is the first real documentation of their live show. And while it's only an approximation of the full-on in-your-face experience of Guerilla Toss as their trouser-wetting best, it will do for the nonce. Nashville - come for the hot chicken, stay for the shattered disco balls. You'll be glad you did." -- Ted Lee (2016). Edition of 800.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 095-2LP
|
2016 repress. Originally released in 2012. Available in two different colors: clear beer, transparent blue. "Debut LP session by a young Boston-based quintet who hit with all the Dionysian power of a young Harry Pussy, squared and electronified. Kassie Carlson's vocals have all the upper register urgency once manifested by the great Adris Hoyos, and her bandmates manage to create large stugs of post-punk-angularity, overlaid with truly dithersome electronics. The result is one of the first transcendent post-no-wave records of our era. Live, Guerilla Toss create an amazing and beautiful disruption of all known truth-fields. They function at a level of pure discordian creation so pure it is guaranteed to melt all but the stoniest witnesses to its blazing infirmity. But the album, Jeffrey Johnson (named after the most elusive member of Jack Black's legendary Johnson Family, as well as the author of the record's cover art), manages to work beautifully as a collection of songs, rusty and scrappy, but songs nonetheless. Guitars weevle off into the atmosphere, key chords emerge like one of Adele Bertei's lost tampons, drums cuss sullenly - it's an amazing mess of sound-bed for our heroine to caper upon. Get yours now or pine for it later. Your choice." -- Byron Coley, 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FTR 190EP
|
Edition of 400. Includes download code. Plays at 45 RPM. "Slight line-up change in GT brings new faces to keyboards and bass, resulting in a rather plumper (and, dare I say, more soulful) bottom, without removing any of the pony-rending upper register dynamism we have all grown to love. This new width also adds a certain slinkiness to a few of the evil cheerleader routines that are part of Kassie Carlson's magic kit. The band spins out streams of thick repeato-riffery, while Kassie's vocals exhort everyone to explode. Word on the street is that GT's new label has big things in store for them. So Smack the Brick is either gonna be viewed as the end of one era or the beginning on another. Either way, GT continue to punch above their weight, swinging like a drunken street fighter in Boston's Combat Zone whose chest just happens to emit strange keyboard sounds from time to time. Peter Kalyniuk's great cover art tells the whole story -- your head is a temple. But it is also full of snakes." --Byron Coley, 2015
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 175LP
|
"Vinylization of a recent Infinity Cat cassette, 367 Equalizer is a one-sided slab of belligerent art damage. The feel of this session is more tempered than that of their wigglesome debut LP, Jeffrey Johnson (as well as their second LP, which shall go nameless). The discordian elements of post-no-wave edge and Brooklyn basement glue party remain, but some of the looser jags have been hauled in and buffed like a fine pair of loafers. This is still definitely the sound of young people, but not in a way that grates on my old man's sensibilities. One of my favorite prog albums was recorded by Pete Brown's band, Piblotko, and it's called Things May Come and Things May Go, But the Art School Dance Goes On Forever. The sentiment expressed by that title inhabits the music here. It acknowledges a variety of parallel continua, while adding a fresh layer of creative loam that will surely be plundered by subsequent generations of brats. It's an endless worm of processing and renewal, and only time will tell if this Boston quintet ultimately manages to survive the rigors of the eat-and-be-eaten dictates of the form, but this is a damn good effort. It will be sure to please those amongst us who are still young in tongue, even as we become long in tooth." --Byron Coley
|
|