Three songs from Spray Paint's second album, Rodeo Songs, on Ss Records. Release date 15 November 2013.

Bring Dumpster Back

I Need A Bag

"Geld Wie Wir" from the Banque Allemande album "Eins, Zwei" on S.S. Records. Available from http://s-srecords.com

Banque Allemande - Geld Wie Wir

From kim ki o's forthcoming album - Bir Iki - on Ss Records, available early September 2014. 

kim ki o - Serbest Kalp Dusmesi

kim ki o's Bir, İki... available on vinyl and CD from Ss Records September 16, 2014

kim ki o -  Gene Oldu

Andy Human & The Reptoids is a great rock and roll band.

In a time where so many bands do little to tweak their influences, Andy Human & The Reptoids do what all great bands do: They take the past, hint at the future, and turn it all into the NOW. With punk energy, a new wave sense of economy, and the tap of power pop, these guys fold in Roxy Music, Devo (both the art and the pop sides), early Eno, and Pere Ubu, while making sounds that are very much their own. Raven Sings the Blues has called Andy Human “...a wobble of weird that makes the candy coating delightfully astringent...digesting Devo and Gary Numan through a faded VHS glam punk hangover and knocking the results crisply out of stacked speakers.”

Andy Human & The Reptoids’ debut contains eleven songs, each one a sonic worm that will burrow into your brain and turn you into a Reptoid-humming zombie. Play side one forever, that’s okay, when it is worn out, you have side two to obsess over. Or keep flipping the thing over until you get carpel tunnel syndrome. Whatever you do, you will listen to this. This isn’t a record that gets lost in the stacks. It is one you wear out.

Andy Human is Andy Jordan. You know him from the Cuts, Time Flys, Buzzer, and LENZ (also Razz, Brain Glaze, and Factrix). He is one of the best Bay Area rock & roll song-writers around and an ace on guitar and keyboards.

The Reptoids are Cripe Jergensen, Beast Man, and Ra Diehl. They’ve been doing time in Drunk Horse, Sir Lord Von Raven, Girls, and LAND. Throw them in a bowl and stir them around and you’ve got a couple dozen records out of them, countless festival and SXSW appearences, and too many tours and shows to count.

Andy Human & the Reptoids play some of the freshest & smartest rock & roll being made today and this record is proof of it.



Order now!

Andy Human And The Reptoids - Yes I No

“I am the fruit of the culture of my country, Violas, the singers, the guitar players, the Lusitanian pastoris, the frevo and blocks, maracatu, black, and the Moorish thing” - Alceu Valença

Brazil in the early 1970s had one of the moxt vibrant music scenes in the world.  Tropicalia was going strong, a challenge to both the music establishment and the state. Música Popular Brasileira (or MPB) was firmly established. Up in the northeastern corner of Brazil, centered in Recife, was another exciting strain of Brazilian culture called Udigrudi. Ave Sangria, Lula Cortes, Ze Ramalho, and Satwa were a few artists from the movement; but none is more celebrated than Alceu Valença.

Alceu Valença grew up with the expectations of being a lawyer. He did go to law school, but he ditched the legal life for his first passion - music. In 1970, he played with Ave Sangria. Soon after he made a couple records with his friend, artist and musician, Geraldo Azevedo. However, it was his first solo album Molhado de Suor that caused people to take notice. 

While other Udigrundi musicians combined traditional northeaster Brazilian music and rhythms with folk rock and psychedelia, it was Alceu’s Molhado de Sour which became the measure. Rich vocals combine with driving guitar work, moody arrangements, and unusual trips. Aided by Lola Cortes and Geraldo Azevedo, Alceu’s Molhado has been called innovative, insistent, and vital (Slipcue). It is considered a Brazilian classic, often landing in Brazilian Best of All Time lists and sought after by collectors. 

Alceu followed Molhado’s release with many more albums, each one establishing him as not only superstar, but the one artist who most successfully integrated the sounds of his native region, Pernambuco, with pop and rock. He’s collaborated with filmmaker Sérgio Ricardo, acted in film and on stage, played Montreux Jazz Festival and countless other festivals, and has received or been nominated for countless awards including a Latin Grammy. And what is probably the biggest honor of all, in Brazil he is known by one name, Alceu.   

Molhado de Sour was originally released in 1974 on the Som Livre label. The record’s only vinyl release was in Brazil and has been out of print for over 40 years. Sol Re Sol is proud to bring this important album back in print.  
(Sol Re Sol Records SRS003)

Pre-order now: Ships first week of June 2015.

Order Now!

Alceu Valença - Mensageira Dos Anjos

“I am the fruit of the culture of my country, Violas, the singers, the guitar players, the Lusitanian pastoris, the frevo and blocks, maracatu, black, and the Moorish thing” - Alceu Valença

Brazil in the early 1970s had one of the most vibrant music scenes in the world.  Tropicalia was going strong, a challenge to both the music establishment and the state. Música Popular Brasileira (or MPB) was firmly established. Up in the northeastern corner of Brazil, centered in Recife, was another exciting strain of Brazilian culture called Udigrudi. Ave Sangria, Lula Cortes, Ze Ramalho, and Satwa were a few artists from the movement; but none is more celebrated than Alceu Valença.

Alceu Valença grew up with the expectations of being a lawyer. He did go to law school, but he ditched the legal life for his first passion - music. In 1970, he played with Ave Sangria. Soon after he made a couple records with his friend, artist and musician, Geraldo Azevedo. However, it was his first solo album Molhado de Suor that caused people to take notice.

While other Udigrundi musicians combined traditional northeaster Brazilian music and rhythms with folk rock and psychedelia, it was Alceu’s Molhado de Sour which became the measure. Rich vocals combine with driving guitar work, moody arrangements, and unusual trips. Aided by Lola Cortes and Geraldo Azevedo, Alceu’s Molhado has been called innovative, insistent, and vital (Slipcue). It is considered a Brazilian classic, often landing in Brazilian Best of All Time lists and sought after by collectors.

Alceu followed Molhado’s release with many more albums, each one establishing him as not only superstar, but the one artist who most successfully integrated the sounds of his native region, Pernambuco, with pop and rock. He’s collaborated with filmmaker Sérgio Ricardo, acted in film and on stage, played Montreux Jazz Festival and countless other festivals, and has received or been nominated for countless awards including a Latin Grammy. And what is probably the biggest honor of all, in Brazil he is known by one name, Alceu.   

Molhado de Sour was originally released in 1974 on the Som Livre label. The record’s only vinyl release was in Brazil and has been out of print for over 40 years. Sol Re Sol is proud to bring this important album back in print.  (Sol Re Sol Records SRS003)




Alceu Valença - Cabelos Longos

SCREATURE’s second album - Four Columns - opens with shimmering guitar and incantation...and then it flies. Chris Orr’s atmospheric guitar is a cool companion to Liz Mahoney’s haunting vocals, Sarah Scherer’s keys swirl to Miranda Vera’s insistent beat, brought to right now by CHRIS WOODHOUSE’s excellent production. Call it Dark Psychedelia or Post-Punk Black, SCREATURE’s Four Columns is a creeping zodiac of sound.

SCREATURE came to life in 2008, in a dark corner of Sacramento, California. They spent three years making music in secret, wintering to Rudimentary Peni and Chrome, summering to Music Machine and PiL. In 2011, they played their first show...with Death Grips. And then hit the stage with White Lung, Chelsea Wolfe, Chain & the Gang, Wounded Lion, Milk Music, TV Ghost and others.

2013 saw their debut LP flash through the sky (now back in print on Ss Records). D. Yudt called it the “Feel bad record of the year.” It landed in Chelsea Wolfe’s Pitchfork year-end Best of... As good as the self-titled Screature is, Four Columns is better. The songs “Down Boys,” “Half Past Midnight,” and “Lost Ones” are already live hits; on record they rule other worlds. From front to back, Four Columns intoxicates.

SCREATURE’s Four Columns is a co-release from Ss Records and the band’s imprint Ethel Scull. Available on vinyl, CD, and digital download.

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Screature  - Down Boys

Release date: October 23. 2015

The A Frames second album – appropriately titled 2 – is the classic follow-up to their stellar debut. Influenced by their heroes Wire, the A Frames were not content to make their second album a copycat of their first. Instead, they took their sound and expanded it, making fifteen songs that twisted their post-punk cum KBD /garage style. Recorded in a weekend by Chris Woodhouse, the A Frames created one of the best albums of the ‘00s.

“Finally, someone has released a worthy follow up to Gang of 4’s Entertainment” wrote Go Metric. “You can throw all the Gang of Four/Fall/Wire references you want at this band, but all I can say is that the A-Frames are quite simply creating some of the most captivating sounds around. Their second full-length is even weirder than the first, adhering to the robot-wave construction of their first record, but tinkering with the formula enough to keep it sounding new…These guys have put themselves yet another step or two ahead of the crowd with a record that may even be better than their first” countered Blank Generation.

Maximum RockandRoll said “this sucker is flat out classic…[Woodhouse] is starting to look like the Trademark of Quality for raw art-garage.” Roctober cooed “Though it seems impossible for robots to have souls this is basically the lost, brilliant, organic Kraftwerk LP (where they added guitars). This is so futuristic it makes my vision hurt.”

The original year-2003 vinyl pressing of A Frames’ 2 sold out in three months. Ss let it go out of print, but, like the A Frames’ first album, the label has often been asked the question “Are you ever going to release it again?” The answer is Yes!

Recorded by Chris Woodhouse (Oh Sees, Ty Segall, Hospitals). Produced by Woodhouse, Scott Soriano (Ss Records), & the A Frames. Mastered by John Golden and pressed by RTI on premium vinyl, A Frames s/t is back in print in lux sleeves custom printed by Stumptown.

A Frames - Futureworld

Release date: October 23, 2015

Present-day San Francisco is beautiful city but it is also a hyper-active, tech-grinding rat race. Every day 24/7 the money chase is on, the rats hustling for tiny morsels of cheese, praying for the day when a big hunk o’ chedder falls from the sky. If you’ve lived in the city for a good while and are some creative type or working joe or jane, you can be overwhelmed by it all. LIFE STINKS’s second album, You’ll Never Make It is a perfect portrait of that mindframe.

Feelings of anger, self-doubt, and vindictiveness are weaved though a sonic template that shifts from a Flipper/Fang arms-a-swingin groove like the title track to stand out Velvet poppers (anchor), Stooge-oid stomping (Sliding Down A Wire), and outright demented thuds (I’m A Weed). And then just when you are ready to take out a few windows, Life Stinks slyly slides in a gentle number which reminds you that the band is as complete as the emotional pallette we all possess.

You’ll Never Make it is a great follow up to Life Stinks’ 2013 debut, which was called Album of the Year by some yucks at Maximum RocknRoll and earned high praise at Raven Sings the Blues, It’s Psychedelic Baby, Terminal Boredom, and other places. Life their first album, You’ll Never Make It is produced by Kelley Stoltz and Mikey Young (Total Control / Eddy Current Suppression Ring).

Life Stinks - Strange Prison

Release date March 11, 2016

We are very excited to be releasing Rumours 2, the second album by Pony Time, the best band going in Seattle. Luke Beetham plays bass/guitar and sings, Stacy Peck plays drums. Together they make a very cool minimalist, hook-laden, avant garage pop. Think ESG steeped in the Troggs. (Ss Records SS083)

Pony Time - Don't Mind If I Dew

From the forthcoming album "Period" by Michael Yonkers with the Blind Shake. 

Released on 11/11/11 on S.S. Records. http://s-srecords.com

Michael Yonkers with the Blind Shake - Carbo Hydro

The Twinkeyz sole LP was originally released in 1979 on Plurex Records but unfortunately what should have been a psychedelic punk classic got a bad mix and a worse mastering job. Well, that has all been fixed! Ss Records is proud to reissue the corrected mix/remastered version of this great album by one of Sacramento's best bands. Street date is May 20. Distributed by Revolver. Pre-order now. 

The Twinkeyz - Aliens In Our Midst

The Twinkeyz sole LP was originally released in 1979 on Plurex Records but unfortunately what should have been a psychedelic punk classic got a bad mix and a worse mastering job. Well, that has all been fixed! Ss Records is proud to reissue the corrected mix/remastered version of this great album by one of Sacramento's best bands. Mail order from Ss Records. Distributed by Revolver. Order nowW

Buy Twinkeyz!

The Twinkeyz - That's The Way It Goes

From the LP "The Primal Energy That is the Music & Ritual of Jajouka, Morocco" on Sol Re Sol Records, a subsidiary of S.S. Records. Released 11/11/11.

The Master Musicians of Jajouka - Jajouka Black Eyes

The Proletariat's Soma Holiday was the legendary Boston band's first album. Released in 1983, it is a classic of American hardcore punk. On October 21, 2016 it gets its first official reissue on S-S Records.  http://s-srecords.com 

B4 The Proletariat - Subsidized

A3  The Proletariat - Famine



The first and only vinyl edition of the FM-BX Society Tape 001. Originally released in 1981 only on cassette, with a limited run of 200, FM-BX 001 was the first in a series of compilation tapes released by the staff of a radio station in Brussels, Belgium. Needless to say, not many tapes made it around, and very few survive today. I'd say that is a shame but with this vinyl release, the word will get out about the bands on this tape, albeit a few decades after its initial release!

FM-BX 001 features three bands, two from Belgium, one from Scotland. The Belgium bands are Isolation Ward and Unit 4. Isolation Ward are known in underground synth collector circles, as they had a bit of a run after their debut on this release. Bleak and futuristic, Isolation Ward fuse post punk with early 80s synth sounds and a DIY approach.

The big surprise of FM-BX are the all-woman foursome Unit 4. Little is known about the band or their current whereabouts. No problem because their music is all you need to tell you that they had something special going. By their sound, the influences are obvious: Kleenex, Delta 5, and the Raincoats all reverberate here though less "slick" than any of those bands. Unit 4's aesthetics are more akin to the Petticoats and, at times, the Shaggs. Fans of current day lady singers Titmachine and the Dead Clodettes will dig. This is truly wonderful punk rock.

From Scotland comes the Topplers. If the name sounds familiar, it is doubtful that it is because of the band. One of the Topplers is a guy named Allan Henry, who runs the excellent DIY label Topplers Records. In fact, it is Allan who turned me on to FM-BX to begin with. His band The Topplers? Great stuff. Teens with an ear towards the TV Personalities, The Times, and Subway Sect. They only existed for a couple years but wound up on this tape and, as a result, with an opening slot for Golden Earing! These are the only recordings that exist. Had they come out at the time on a 7"s, I have no doubt DIY collectors would be fighting over copies.


Buy from Ss

Unit 4 - Hidden Faces

bAd bAd - s/t LP/CD
bAd bAd started in 2012 when Christian Zamora and Eli Maness started making noise in the foggy outskirts of San Francisco’s Sunset District. After a year or so of playing hyperactive spaghetti western instrumentals and now based in Oakland, bAd bAd started incorporating other influences: the pop-infused punk of Jay Reatard, one-chord Hawkwind power jams, Soft Boys-style psych, and the highbrowed playfulness of the Suburban Lawns. Disparate sounds, yes, but bAd bAd turns them into exciting buzzsaw pop with Barrett/Floyd interludes. bAd bAd started recording their debut album in 2015, perfecting it until it became a seamless psychedelic pop piece of punk energy. This is addictive stuff! Digitally mastered by Mikey Young. Vinyl mastered by John Golden. Pressed at RTI. Artwork by Bert Bergen.

Pollen

Dead Ends

The small towns of California’s northern Central Valley have an eerie loneliness to them. Cinematically, take Two-Lane Blacktop and fuse it with Neil Young’s Human Highway. Fix that into music and you’d get something like Ghostwriter. Odd rock & roll from Orland, home of the dearly departed Nothing People, Ghostwriter lurks in the dust-caked shadows of rusted old cars and “obsolete,” solidstate, electronic instruments. The Chrome-meets-psych sounds of the Nothing People is there, with some haunted rockabilly ala Alan Vega, Residents-like wooziness, and something that makes me thing of the words “paranoid closet.” Top quality on its own, but especially excited will be you Nothing People fans who keep bugging me about “their next album.” These outsider/loner rock sounds will be listened to for years to come. Limited pressing of 300. (SS087)

RIFFINFO_INAM

Ghost Towns

Slugs And Clowns

Plastic Mass

In a genre of music full of interesting and extreme characters, Satan Panonski stands out as one of the all-time punk rock heavies. Born Ivica Culjak in the northeastern corner of Croatia in then-Yugoslavia, Culjak had an average Yugo childhood - good at school, many friends, a member of Tito’s Little Pioneers. But once he hit his teens he was a bit of trouble. After being sent to a German bording school in the late 70s, he discovered the Sex Pistols and punk rock, ran away back to home, and became a fixture in the local punk scene.

An uber-fan of Croatian punk pioneers Pogreb X, he was drafted as front man. He quickly created name for himself as Satan Panonski through shocking lyrics and a confrontational stage show that involved self mutilation. A year into the band, he killed a man in self-defense and spent nearly a decade in a state mental hospital for criminals. In his cell/room he turned his attention to art, writing and constructing sounds and songs. On weekends he would get leave to jam his idea with members of Majki, Kotjoti, and other Croatian punk greats. He played many live shows and recorded. Two albums of material were released on cassette and LP on the Slušaj Najglasnije! label. The music is a wild mix of straight ahead KBD style punk, punk cut with Croatian folk rhythms, and mind boggling, dark, experimental pieces.

Through performance and the Slušaj Najglasnije! releases, Satan Panonski became the most popular punk rocker in all of Yugoslavia...and then the wars came. Responding to Serbian attacks on his village, he joined in Croatia’s defense and was soon killed under mysterious circumstances. Though dead, Slušaj Najglasnije! kept Satan Panonski’s music alive. Word of mouth and the internet grew the Satan Panonski. Unfortunately fans have only had access to MP3 and low quality song streams. The original tapes and the one vinyl release are long out of print and fetch collector prices. It is past time for a proper presentation of this great artist.

Culled from Satan Panonski’s three cassette releases, S.S. has come up with one solid album of material that reflects Satan Panonski’s music. The sound quality on this surpasses what has been previously released (transferred from the original tapes, master to vinyl by John Golden). The cover art uses Ivica Culjak’s own artwork. Also included is a 16 page booklet with a long biographical essay on Ivica Culjak/Satan Panonski, lyrics in the original Croatian and English, as well Culjak’s drawings and many photos. The essay and lyric translation are both special for this release and many of the drawings and photos have not been seen elsewhere.

This is a vinyl only release. No CD or digital download version will be available. (SS072)

Buy from Ss Records

Satan Panonski - Hard Blood Shock

Satan Panonski - Misli Li Istok

Back in 1983, a review appeared in Maximum Rocknroll which immediately drew S.S.’s attention. Tim Yohannan wrote, “F.P.E. are hard to describe--they’re thrashy, jazzy, damaged, crazed, and real intense. If the MEAT PUPPETS met M.D.C. in a Chilean secret police torture chamber, the result might sound like this.” The review ended with an address in Gorizia, Italy and a request for a couple postage stamps. The price was right so the stamps were sent off.

What came back was a cassette with rat-in-a-vice/anti-vivisection cover art and music that was an angry reaction to the world’s injustices. But this wasn’t your average Italian anarchist hardcore release. Nah, there was something different.

Fottutissima Pellicceria Elsa are not “proper” songsmiths. The songs don’t end “when they should.” Just as a tune seems to be over, another part comes along, one that has little relation to the rest of the song. The drummer sounds like the only band member who has a strong grasp of his instrument but he is so entranced with drum fills that he creates a style that is unconventional. The vocals are blarrggghh. A power drill is used as a solo instrument. Fast bursts of rage segue into sludge and then into total confusion. The album sounds like the Italian hardcore version of Tampax’s “UFO Dictator” informed by Throbbing Gristle and Crass, and it makes sense! WFMU’s Fatty Jubbo once described it as “wow...stumbles along like a drunken horse with its feet cut off. sorta reminds of Destroy NYC or Upside Down Cross.”

Nothing is known about Fottutissima Pellicceria Elsa other than they were from Gorizia, Italy in the early 1980s and were around long enough to release one demo. After that, they disappeared to wherever old punk bands disappear to. The original tape was released in a very limited run. It is doubtful more than a hundred were originally made. A few years after it’s 1983 release it had a short second life, also on cassette. This is the first time it has appeared on vinyl....well, that most of it. Using an original tape as source material, we carefully transferred the music and selected as many songs as we could and still make the vinyl sound good. This is the best of it. Also included is a reproduction of the original cassette sleeve with lyrics and other stuff.

This is a vinyl only release. There will be no digital download or CD. (SS073)

S.cott S.oriano (Records)

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