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viewing 1 To 20 of 20 items
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WW 024LP
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"Casual Hex is a three-piece formed in Seattle, WA, in 2015. Drawing influence from a variety of genres (post-punk, no-wave, noise rock), The band relies on the contrast of heavy, catchy, minimal, and dissonant. It's difficult to draw a direct lineage, but flashes of Pylon, The Contortions or early Sonic Youth come to mind. Erica's voice is a commanding narration, stern in delivery. Lyrical content is heady and cryptic, encouraging the listener to question human behavior and inspire positive change. Clocking in at 21 minutes, Zig Zag Lady Illusion is as much of a full length as you're gonna get with most songs not even hitting the 2-minute mark. This is Casual Hex's debut on Water Wing and their first effort to be pressed on vinyl. Limited to 300 copies."
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WW 025LP
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"Formed in 2012 in Pittsburgh PA, Come Holy Spirit wields the age-old trifecta of guitar, bass, and drums in unexpected configurations. The songs embody a complex aggregate of musical influences, ranging from the angular deconstructivism of early experimental anarcho-punk (think Dog Faced Hermans and Poison Girls) to the tender repetition of far-flung folk music. Gina Favano's (John Denver's Airplane, Beware The Blunted Needle) bass playing lies somewhere between a thunder storm and a runaway train. And her striking vocal range alternately spits and croons a shrewd critique through a caul of poetry, while Sam Pace (Centipede Eest, Rickety Records) incorporates unconventional percussion with elaborate poly-rhythms to add another layer of tonal melody to the mix. The trio is completed and complimented with Aaron Lindberg's (Hex, Garmonbozia) sometimes percussive scratchy guitar work, sometimes melodic and patient with bouts of blistering heaviness. After two self-released efforts, Asters And Disasters marks their third album and their first on Water Wing. The album's six songs (seven including the digital download bonus track!) run the gamut of anthemic joy and punishingly noisy mayhem, all the while never losing the groove. Two songs 'Elephantine' and 'Essayons' feature the iconic voice of GW Sok (The Ex, King Champion Sounds) who was given the song titles and a peek into the imagery that was swirling around Favano's head when the songs were named. Sok took the germs of ideas, wrote the lyrics and performed them on the album. Cover photo by underground filmmaker Bill Daniel. Limited to 300 copies."
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WW 023LP
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"Guitarist Moff and Drummer Ursula started Mr. Wrong in a spider filled basement in 2015, inspired by femme punk & post-punk bands from the 70's and 80's, and the desire to learn their instruments. Many mix tapes and late-night-listening's later, many of which can be attributed to the discovery of blogs like Gunilla and T.V. Dinner, Mr. Wrong found their raw, confrontational sound. They met their bassist-to-be, Leona, at their first show (a rowdy house-show at their place of origin, Spider Vein) January 2016. Mr. Wrong continued as a 2-piece for about 9 months until realizing that Leona's bass stylings were the missing ingredient in their witches brew. At this point, Moff and Ursula had reached a new level of proficiency due to their dedicated practice schedule and tendency to never-say-never to a show. They recorded their Demo, Distraction, on local friends' cassette label, Cosmonaut Music, which captured the raw energy of their early songs (a blur of fierce 2-minute rants about jobs, witches, shitty dues, and gentrification) in the spring of 2016. The addition of bass that fall opened a door to the post-punk portion of Mr. Wrong's early inspiration, resulting in a wave of new song-writing which relied more heavily on complex rhythms. Babes In Boyland was recorded winter of 2017 at Red Lantern Studios. At the time, they didn't know what those recordings would turn into, they just knew they had to happen. Synchronicity struck at the recording space, leading to the release of their full-length record on Water Wing. Limited to 300 copies."
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7"
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WW 022EP
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"Lost Swiss punk treasure! Two song 7" EP by all female foursome Neon. The band featured Astrid Spirig (vocals), Dagmar Heinrich (guitar), Loredana Zandonella (bass), and Gitta Gsell (drums). Astrid was the third singer of LiLiPUT and sang on both LiLiPUT full length LPs. Neon practiced for 6 months and wrote 6 songs. They played their first gig on Nov 1st 1978 at the Club Hey in Zurich. In December of that year, a live performance on Swiss television took place for a program about 'women in show business.' The band wasn't happy with the experience and disbanded a few months later only performing a handful of gigs. Fast forward to 2016, Dagmar finds an old cassette at her home with the recordings of the two songs 'Neon' and 'Nazi Schatzi.' These were produced for the ill-fated television appearance and are the only recorded Neon songs in existence. Covers and inserts printed by Stumptown Printers."
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WW 021LP
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"Debut LP by Portland Oregon sextet! One can find evidence of a pretty broad array of musical touchstones on Abronia's Obsidian Visions/Shadowed Lands: Morricone Spaghetti Western soundtracks, spiritual free jazz, Tuareg guitar bands of the Sahara, drone metal, 70's Krautrock, Ethiopiques, Glenn Branca, outlaw country, various tribal music, 60's psychedelia, and maybe even a little 80's goth. Recorded onto 2" tape by Jason Powers (Grails, Moon Duo etc.) at the venerable Type Foundry Recording Studio, this album is a document of the first five completed compositions by the six piece. Replacing your standard drum set with an early 70's 30" marching drum, which proves to be a proper centerpiece for the guitars, lap steel and saxophone to create mesmerizing and sometimes cacophonous soundscapes. Everyone gathered around the drum and played together, with minimal overdubbing. It's a snapshot of a band coming right out of the gate with a powerful, realized vision, that in actuality was a long time coming for this group of veteran players."
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WW 020LP
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" 'The alluvial fans on the south side of the San Gabriel mountains are some of the biggest anywhere. I ended a twelve year relationship and moved into my friend's house in east Claremont only about 100 yards from the San Antonio River, on the center of that giant alluvial plain. I made instruments in a falling down garage and in the front of the house built a studio. It was the end of me in Man Is The Bastard and the birth of me returning to folk, but bringing hardcore and noise back with me. I started calling it folk-core meaning folk and hardcore mixed together and 'Musnic' meaning musical noise. I had at that studio a Hammond S-6 chord organ, pure tube electronics with no mechanical tone wheel to derive the sounds. I circuit bent it to produce the sounds of bodrahns and bagpipes, sounds I have always loved. It has 60-80 vacuum tubes in it! A small little organ designed by John Hannert for Hammond; and one was used on Magical Mystery Tour. I had been writing Amps For Christ on all the amps and oscillators I made, so it ended up being my new name. The Plains Of Alluvial felt meant to be, everything, the name, the recordings just seemed to fall in place. I took the tape to Dennis of Shrimper Records and he agreed to release it.' -Henry Barnes Now reissued for the first time ever. The Amps For Christ debut cassettes a full length LP with covers letter-pressed by Stumptown Printers. Limited to 500 copies."
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WW 018LP
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"After the success of their debut EP, post-punk art rockers Y Pants performed regularly in NYC and other East Coast venues. In 1981 they toured Europe for six weeks and upon return went into the studio to record their only LP, Beat It Down, released in 1982 on Neutral Records (Sonic Youth, Glenn Branca et al). The album extends the band's signature pared down rollicking minimalism. The 10 songs are varied, using surprising and inventive instrumentation. The music is at once filled with a sense of longing and a fierce ironic rebellion. With exuberant precision they brandish their 'toy' instruments and plaintive vocals in emotive expressions of female resistance. In dustedmagazine.com, Seth Watter wrote of the album, 'I love the sprightly keyboards of 'The Fly', the gentle lyricism of 'Lulu', the anger of 'Beat It Down' that comes through in the music's shambling, atonal jangle. The songs covered a huge range of emotions with an entirely new syntax.' "
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12"
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WW 017EP
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"'In the late '70s and early '80s everyone had very fluid art identities. One day you were a filmmaker, the next day a musician, and Y Pants was very much a part of it... The lyrics are ironic without being callous, the voices are sultry, the music is repetitive and trance-like... [with] a sense of urgency - like something being driven out.' --Kiki Smith. Y PANTS were a three-woman New York band: Barbara Ess, Virginia (Verge) Piersol and Gail Vachon, all visual artists. They played in clubs, galleries and performance spaces between 1979 and 1982. They were 'as idiosyncratic, edgy, minimal, wry and literate as post-punk no wave got. Furthermore, the fact that these were three ferocious and formidable females was not to be overlooked.' --Wolfgang Staehle, thing.net. Gail found a toy piano on the street and started jamming with Barbara on the ukulele. When they were invited to play a few weeks later at TR3 (the short-lived but influential downtown NY music club), they electrified their instruments and recruited the neophyte drummer Verge for percussion on a children's drum set. Their first gig met with an unexpected wildly enthusiastic reception. The instrumentation was then rounded out with Barbara's bass (former bands Daily Life and The Static), an African thumb drum, and a Casio keyboard for Gail. Verge's initial Mickey Mouse toy kit soon fell apart and she cobbled together a modest trap set. They gained a following and soon recorded a four song EP produced by Glenn Branca for 99 Records. They often shared the stage with label mates the Bush Tetras, ESG, Liquid Liquid, Branca and other NYC 'downtown' bands. This release includes their four-song debut EP and two songs never before available on vinyl: 'Magnetic Attraction' (previously released on Tellus Audio Cassette), and the mysterious 'Kung Fu'. In a NY Times review, John Rockwell wrote"... what really makes Y Pants a success is the actual sound of the instrumentals -- raw and driving yet exotic and imaginative in terms of timbre and minimalist structure.' "
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LP
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WW 013LP
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"Repressed Again. On combination letter pressed and offset covers. Covers manufactured by Stumptown Printers. Limited edition of 300.Lithics is a four person minimalist punk band from Portland, Oregon formed in late 2014. Over the last year and a half they have refined a sound focusing on interlocked bass and drum rhythms paired with shrill guitar counterpoint and stark female vocals. While counting Wire, The Fall, Devo, Pylon, The Shadow Ring, and Captain Beefheart's Magic Band as reference points, the band's concerns are contemporary and urgent. An injection of uptight, nervous energy into the reverb drenched complacency of today's musical underground."
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WW 015LP
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2017 repress. "Captured in the depth of a Minnesota winter in a room equipped with two grand pianos, Crystal Myslajek produced the six track opus that is Circadia. Circadia is a contemplative, intuitive and luminous album of slowly unfurling arrangements for piano, voice, bass, drums and modular synthesizer. Myslajek (formerly of ethereal art-rock trio Brute Heart) is a Minneapolis-based performer and composer. Her compositions blend haunting vocals with minimalist classical piano, punctuated by bowed and plucked double bass, and sparse percussion. The sweeps and tones of a modular synthesizer articulates the colors already present in this modern achievement of musical production. Featuring Liz Draper (double bass), Chris Hepola (percussion and piano), and John Marks (modular synthesizer)."
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WW 014LP
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"Jungle Nausea formed at the dawn of the '80s when some members of SMEGMA recruited other Portland new-music enthusiasts (including poster artist Mike King) for a project that would combine punk, new wave, American roots music, and a sense of humor. They weren't much like the other local bands of the era, but that wasn't what they were going for. Instead they found their own twisted path, playing the heck out of their mix of conventional and homemade instruments and getting unintended sounds out of their rhythm machine. The live shows were few, but incredibly memorable. This release combines their 1982 EP in its entirety, and a whole side of unreleased live and studio tracks. All tracks engineered by the legendary Mike Lastra of SMEGMA."
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WW 016LP
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"First released in September 1982 on their own Xntrix Records label, Where's The Pleasure was described by Johnny Waller in Sounds as 'The last great punk record'. The record came out of a period of change for Poison Girls. A new house, a new bass player, a completely new set, and, with it, a determination to challenge the expectations of their audience. What resulted is an outstanding collection of songs. Vi Subversa's lyrics seamlessly make the personal political, and the political relevant to everyday life. The music bristles with inventiveness. What we hear is a band at the top of their game, exploring different styles and enjoying themselves in the process. It is Poison Girls flexing their musical muscles, rediscovering their roots, and connecting with the true spirit of punk, which is of course, unbridled, messy and adventurous creativity. Where's The Pleasure is a truly wonderful achievement by a truly unique band."
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LP + 7"
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WW 011LP
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"Chappaquiddick Bridge, the band's first full length, was originally released on Crass Records in 1980 and featured the same lineup as Hex. And like Hex, it shared the producer/engineer team of Penny Rimbaud and John Loder. This record sees Poison Girls at their most experimental stage. The songs dig deeper into the connections between the personal and political. Starting with an uncredited version of 'State Control' (one of the bands punkiest crowd pleasers) done in an 'unplugged' style, and ending with the similarly stripped down 'Tender Lover', this album broke all the rules of what a 'punk' album should sound like. The songs are long. There are extended sonic workouts and codas, using synths, abused studio effects, electric violin, acoustic piano as well as 'random' electric guitar sounds and vocals. The mix has thundering drums up front that power the songs, and help create a barrage of rich sound. The lyrics speak of love, power, sexual politics, war and peace and most things in between. This is Vi at her most poetic, but with a razor sharp insight, and not holding back on using it. A truly original album. If it was removed, lost or destroyed, your original copy of Chappaquiddick Bridge came with a one-sided flexi disc containing the anthem 'Statement'. This 2014 reissue also includes 'Statement' as a proper one-sided 7" vinyl. Sturdy tip-on gatefold cover."
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12"
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WW 010EP
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"The Poison Girls were a force of nature. Spat out of the belly of the UK punk scene, the Poison Girls paired up with a band down the street called Crass. The two bands played 100 shows together in the span of three years. They bonded on a conceptual and artistic way to approach punk. The Poison Girls were fronted by Vi Subversa, who was a child in the East end of London during the 2nd World War, an evacuee during the Blitz, became part of the Soho anarchist scene of the 50s, took part in the original CND march to Aldermaston, then a counter culture drop out of the 60s, finally founding herself in the mid 70s, aged 40, with two children, living in Brighton. Vi, along with Richard Famous, Lance D'Boyle and Bernhardt Rebours released Hex in 1979 on the bands own Xntrix label. It was a 12" 45rpm mini album and was released with the help of Small Wonder (Bauhaus, The Cure, Crass), a local independent record label. Hex was later reissued by Crass Records in 1981.The record was recorded at Southern Studios, produced by Penny Rimbaud, and engineered by John Loder, Hex is an extraordinary punk record which featured the group's lineup that was to last for the following 2 years. Cameo appearances included Vi Subversa's offspring Pete Fender and Gem Stone of Fatal Microbes and Eve Libertine of Crass. The album lays out the band's concerns, in Vi's searing lyrics, against a backdrop of deep, beautiful and sometimes scary music. Vi channels the anger and frustrations of any single mother living in what was (and still is) a man's' world. From the opening salvo 'If I had my time again, I'd like to come back as a man!' to the final 'Reality Attack Reality Attack Reality' the record bristles with a fiery passion and intensity. The lyrics explore the expectations of normality, political correctness, pressures of conformity, pain and mental illness and the horrors of war. The music is diamond hard but with a tender edge, and the whole soundscape is overlaid with 'found' recordings of everyday life. Reissued for the first time in over 30 years with a sturdy tip-on gatefold cover."
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LP
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WW 008LP
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"The Androids of Mu were a noisy all-girl early post-punk band that emerged from London, UK, in 1979, alongside the likes of The Slits and The Raincoats. They met up in the wild squatter-lands of west London. Suze the Blooz, Corrina, Cozmic, and Bess became immersed in the local counter-culture. They grounded themselves in psychedelic synthesizer and guitar music, playing with Planet Gong and Here & Now, and musicians from Hawkwind. When they finally got hold of a cheap synth and a noisy guitar of their own, they used them, at full volume, with fat bass and bouncing drums, to record an album in the form of their new, colourful and zazzy reflections of life, from under the long dark shadow of puppet Thatcher's corporate new Britain. They gigged around, sharing bills with the likes of The Mob, Zounds and, The Astronauts. Blood Robots was recorded at lo-fi cult studio Street Level in 1979, this was their only ever album, originally released on Fuck Off Records. Now, cruel world, it is time for you to receive it. (This 2013 release has been carefully remastered from the original tapes. Includes insert with early photos and complete songwords)."
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7"
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WW 007EP
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"Brute Heart is Jackie Beckey, Crystal Brinkman and Crystal Myslajek, from Minneapolis. The bass, drum viola trio has been effectively blowing minds since 2007. They have unleashed two LP's, as well as a killer 7" on M'Ladys. Now they have reached down into a deep reverb tank and pulled out 'Wildfire,' the A side to their Water Wing 45 rpm. Dub rhythms and pulsating bass lines collide with their usual layers of underwater vocals. Like their Soft Abuse LP, Lonely Hunter, 'Wildfire' was recorded by Minneapolis engineer, Mike Wisti (Mother Of Fire, Skoal Kodiak). In true dub fashion, on the flip is a re-mix of 'Wildfire' deconstructed and rebuilt by the recording studio team of Alex Yusimov (Mirah, Grass Widow) and Jason Powers (Grails, Scout Niblett)."
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LP
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WW 006LP
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"Like twins who share a secret game of their own invention, Geoff Soule and Elizabeth Venable have in Sad Horse a band that operates by its own gleeful logic. Hearing these songs, you can tell there are rules keeping all of the clockwork pieces moving together but they are elusive to anyone except the two of them. From the simple set-up of guitar, drums and two voices Sad Horse spin a maniacal whirlwind, shooting off songs that twist and turn and seem on the verge of shaking to pieces before suddenly careening into a great big chorus or hooky riff. It's an exhilarating blur at first but as soon as your ears adjust it becomes clear that at heart the record is a collection of strange and wonderful pop songs. Purple On Purple Makes Purple is the debut LP of this Portland, OR duo, displaying 14 top-notch songs at 45rpm, and their return to vinyl after a beloved 7" on Mississippi Records."
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7"
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WW 004EP
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"Psychic Feline consists of Bob Desaulniers, Sydney Roth and Curtis Muenze. Arising from the ashes of The Caldonias, Psychic Feline is quickly rising to the top of Portland Oregon's prolific music scene. Words like psychedelic don't even scratch the surface in this bass-less trio. With Sydney's primal percussive stomp as the platform for the guitars of Bob and Curtis, the trio create knock-out hooks, savage fuzz and soul-vibrating feedback Vocals are a tasteful additive in this 50% instrumental outfit. So it's appropriate that their newest offering and first for Water Wing contains a blistering fuzzed out rocker on the A side,'White Walls' and an instrumental on the flip,'Non Dot'. Recorded by Alex Yusimov, mastered by Tim Stollenwerk and artwork by Nucular Animals' Wiley Hickson. Digital download included. Limited to 500 copies."
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7"
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WW 003EP
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"Witch Gardens are the Seattle-based project of Beth Corry, Sara Beabout, Karolyn Kukoski and Casey Catherwood. After a handful of cassettes and seven inches on a variety of labels, R-I-P is the newest chapter in the Witch Gardens narrative. Each of the EP's three songs of love, friendship and identity are articulated through their trademark dreamy melodies, buoyant rhythms, resonant guitar/autoharp, and endlessly infectious charm. Recorded at The Pool with Alex Yusimov and mastered by Tim Stollenwerk, R-I-P showcases these young pop savants' best songwriting to date. Featuring gorgeous cover art by the Witches' own Sara Beabout & Casey Catherwood. Digital download included; limited to 500 copies."
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LP
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MLADYS 002LP
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"At long last, the vinyl debut of this flawless compilation of Tyvek's early singles. Long out-of-print, and still in high demand, Fast Metabolism was initially issued as a CD-R only release, and quickly caught fire around the world. Hailing from Detroit, and behaving as if Wire had been the world's only hardcore band, Tyvek were (and still are) a much needed adrenalin spike through the breast plate. These songs eventually were released as four very hard to find 7"s between 2006 and 2008. Issued in an edition of 2000 copies, with deluxe tip-on jackets, and mastered for precision by Timothy Stollenwerk, with the vinyl lacquers cut by Bob Weston, this is a co-production between Brooklyn, New York's M'lady's Records and Portland, Oregon's Water Wing Records." Includes lyric sheet insert.
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