Bands – Southern Lord Recordings Europe

Forced Down

Forced Down was first created by Amenity vocalist: Mike Down and Pitchfork drummer: Joey Piro. The band was completed by vocalist Rob Base as well as members of other San Diego hardcore alumni including Scott Bartoloni from Heroin. Full of idealism, love and anger the band recorded (2) vinyl 7”s including their swansong double-7”: “Stifle”. The Forced Down mission statement reads: “As the social values in our society becomes more set in stone, the individual is forgotten. When what the individual stands for goes against the ideas of the mass, and is considered a threat to order, be it right or wrong—they are forced down— disciplined to maintain “the order” Some conform, some resist, some fall, and they are forgotten”…. “time to rise from our knees and live on our feet”

This essential collection and first ever release of all the bands compiled material on vinyl is housed in a thick cardboard, tip-on style jacket and comes with a beautiful 12″x12″ booklet with many photos, liner notes etc. Remixed by Brad Wood (Sunny Day Real Estate, Touche Amore) and mastered by Brad Boatright.

RIP: Mike Down.

Truck Violence

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction. Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk. Violence (July 5th, 2024 via Mothland) is highly recommended for fans of earnest heavy music with an experimental edge à la Show Me The Body, Chat Pile or The Chariot.

Malfunkshun

Malfunkshun was an American punk/LOVE-rock/proto-grunge band formed in 1980 by brothers Andrew (aka LANDREW) and Kevin Wood with drummer Regan Hagar. Combining glam influences with distortion, they were one of the earliest grunge bands from Seattle forming alongside the U-Men and Melvins.. After interactions with fellow grunge act Green River, Andrew would become the frontman for successor Mother Love Bone. Malfunkshun dissolved without having released much material, although they recorded demos and appeared in the landmark grunge compilation Deep Six.

Andrew struggled with drug dependence for several years, eventually dying from a heroin overdose in 1990. Mother Love Bone disbanded as a result and was succeeded by Pearl Jam. Circa 1995 a collection of Malfunkshun demos and recordings from 1986 to 1987 were released on Stone Gossard and Regan Hagar’s Loosegroove label in 1995, as Return to Olympus,

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Deeper History

Formation:
Bainbridge Island, Washington brothers Andrew and Kevin Wood, decided to skip an Easter dinner at their grandmother’s house and stayed at home instead – and recorded their first demo, titled “Malfunkshun“. A bit later they found drummer David Hunt (1964–2009) and bassist Dave Rees, and became a four-piece. Hunt and Rees played with Malfunkshun for only one show; after they left, Andrew took over bass and drummer Regan Hagar was recruited from the band Maggot Brains, establishing the band’s definitive power trio lineup.

During performances, each band member had an alter ego. Andrew’s was L’Andrew the Love Child, Kevin was Kevinstein and Regan became Thundarr. Kevin’s stage persona wasn’t as carved-in-stone as Andrew’s or Regan’s, referred to sometimes as “the Axe-Handler” and even an early Malfunkshun poster[4] hand-drawn by Andrew names him “Led Springsteen”. Using makeup and flashy glam-style clothing in a nod to KISS, and other favorite bands, Malfunkshun was known for their dynamic live shows. Andrew was unpredictable and would wander the crowd during shows with his wireless bass, and even stop shows to eat cereal, and throw the rest out to the crowd. Andrew became increasingly involved with drugs and in 1985 he checked into drug rehab, during which time Malfunkshun was put on hold.

When Andrew returned from rehab, the band started up again and contributed “With Yo’ Heart (Not Yo’ Hands)” and “Stars-n-You” to the Deep Six compilation. Dissolving, but never formally disbanding, Malfunkshun took a back seat to the jam sessions Andrew and Hagar had begun with Green River members Stone Gossard and Jeff Ament. These sessions were the beginnings of Lords of the Wasteland, which would become Mother Love Bone after the addition of Greg Gilmore and Bruce Fairweather. Kevin formed Fire Ants in 1992 with his brother Brian, bassist Dan McDonald, and former Nirvana drummer Chad Channing. Later Brian joined Ben Shepherd of Soundgarden, to form Hater. The brothers later formed Devilhead. Hagar moved on, playing in Satchel, with Shawn Smith, and in Brad, also with Shawn Smith and with Stone Gossard.

A grouping of Malfunkshun demos and recordings from 1986 to 1987 were released on Stone Gossard and Regan Hagar’s Loosegroove label in 1995, as Return to Olympus, which was the largest major label release of the band’s material.

Southern Lord in collaboration with surviving members: Kevin Wood and Regan Hagar are unleashing “Olympus Awaits” an essential compilation of exclusively curated Malfunkshun recordings. It includes material from their Return to Olympus album (here on vinyl for the first time ever), compilation appearances and very rare demo recordings which exemplify their dark-punk hardcore aesthetic. This is thee ultimate LOVE ROCK archival release of MFUNK!

Malfunkshun is an American punk/LOVE-rock/proto-grunge band formed in 1980 by brothers Andrew (aka LANDREW) and Kevin Wood with drummer Regan Hagar. Combining glam influences with distortion, they were one of the earliest grunge bands from Seattle. Andrew would become the frontman for Mother Love Bone. Southern Lord in collaboration with surviving members: Kevin Wood and Regan Hagar are unleashing “Olympus Awaits” an essential compilation of exclusively curated Malfunkshun recordings. It includes material from their Return to Olympus album (here on vinyl for the first time ever), compilation appearances and very rare demo recordings which exemplify their dark-punk hardcore aesthetic. This is thee ultimate LOVE ROCK archival release of MFUNK!

Wolfpack

– Essential, classic, crucial D-BEAT crust from the masters!

Wolfpack was a d-beat band from Sweden formed in 1995 with members of the bands To What End?, Asta Kask and Scandi-crust legends: Anti-Cimex, among many other prominent bands from the Swedish hardcore and crust punk scenes. They released 3 full-length albums of punishing, unrelenting, pure raging D-beat Punk.

– A New Dawn Fades LP 1996
– Lycanthro Punk LP (1998)
– All Day Hell LP (Black vinyl) (1999)

These albums have been remastered by Brad Boatright and the vinyl versions are now available via Southern Lord Europe mail-order & Wolfpack bandcamp.
Wolfpack changed their name to WOLFBRIGADE in 1999.
UP THE PUNX!

Heroin

Photo by Melanie Whitman

One of the vanguards of the 90’s underground, punk/hardcore community, San Diego’s Heroin released their first 7” in 1991 before disbanding in 1993. In that short time, the band went on to influence countless post-hardcore and screamo bands of that era and even today. Heroin’s first 7” also marked the first release for the legendary independent label Gravity Records, which was central in developing and promoting the “San Diego sound” and also branched out into other forms of experimental music across their extensive catalog.

The Heroin discography contains all of the band’s out-of-print 7”s and 12”s, compilation tracks, as well as the session the band recorded at the infamous Inner Ear Studios in Washington, DC, and never-before-heard unreleased songs. A double LP Gatefold “tip on” jacket is beautifully packaged with a special zine with tons of photos and liner notes by Sonny Kay.

Heroin, Discography track listing:

Side A (1)

Meaning Less
A Portion
The Obvious
We Can Never Know
In General
Moving Parts
Another

Side B (2)

Leave
Wander
Blind
With No Name
Head Cold
Undertaking
Indecision

Side C (3)

This Time
Never Ever
Has Been
I’ve Got Mine
Cost*
Wander*
Things Change*

Side D (4)

Comes To Mind
How Could I*
Compelled*
This Time*
A Portion*
Undertaking*
Has Been
Destination
Second Coming

*previously unreleased

Marthe

Further In Evil is the name of the debut full length from one-woman metal band, Marthe, which is due via Southern Lord on 20th October. An atmospheric and aggressive blend of punk, Further In Evil is a shift in gears from her musical background in the anarcho punk scene and inspired by riot grrrl, crust and d-beat. “I always loved metal and heavy sounds too, but playing music was mostly a political form of activism to me so I’ve been playing punk for pretty much my whole life.” Marthe is “music for broken souls that can’t find peace”. The lyrics are full of rage and the music is full of strength; it has the power of Bathory and the sadness of Tiamat, tinged with the stench of Amebix.

Marthe is, at heart, a solo bedroom project – born out of introversion and a desire to explore new horizons and landscapes alone – “around 2012, I started feeling the need to express myself in a heavier and more atmospheric way,” explains Marzia, the woman behind the Marthe project. “I coincidentally started hiking more and more… getting closer to lonely soundscapes: my life, feelings and moods started being more introspective and introverted.” Marzia continues, “Marthe suddenly became my comfort zone, my therapy, my shadow of loneliness, my book of truths, my mirror, my alter ego. Locking the door and disappearing in darkness recording music alone became something so powerful… I probably never really met myself before that.”

The main narrative of the record is “a journey into evil. I consider it an epiphany in growing armour to make myself stronger. The title, Further In Evil means entering the gates of darkness, becoming cold and detached so as not to suffer anymore.” The source of many of the lyrics comes from a place of betrayal, and grief at losing “people who were central to me”. Marzia comments that “we are alone”, but expels it as a statement of empowerment, rather than sadness – “the strength is ours”. As well as being introspective, Marthe’s lyrics look outwards at “contexts of injustice and suffering, when the main feeling is not having a voice”.

Her music takes influence from other non-musical media as well – she cites the mood, atmosphere and colours of old school Italian horror movies, and continually comes back to nature as a source of inspiration.

Further In Evil was composed and demoed over the course of a year during drives or hikes, and recalls one funny moment when recording vocals for the first edition of the song ‘victimized’ “I went to my old grandmas cellar since it had a natural echo, but the house had been empty for 10+ years and a neighbour called the police to report “a woman screaming and being tortured in the basement of an abandoned house”, so I got interrupted by the police knocking at the door – I had to show them the recording set up so they would believe me!”

Marthe has long been a self sufficient and introspective voice in metal and punk, and we look forward to this first peek into her dark and thoughtful inner world with Further In Evil.

The Lord

photo: Al Overdrive

Greg Anderson began making music in the mid-eighties with hardcore bands False Liberty and Brotherhood before refining his musicality during the nineties with the post-hardcore collective Engine Kid. From that point on, the musical direction started shifting, channelling his love of tone, riffs and repetitive sound, vital elements that feed into the meditative cosmos of the band he co-founded: SUNN O))), and the ‘low and slow’ sounds of Goatsnake, both of whom find different ways to move beyond confines and tropes of their respective sound worlds.

Unintentionally moving in a different direction from those bands within which he found his feet, Anderson was able to take on the mantle of The Lord in a new, pictorial approach to heavy music. Through this process, he has found himself moved to collaborate with vocalists/musicians he admires which to date includes; Robin Wattie (BIG|BRAVE), William Duvall, Petra Haden, David Pajo, Daniel Kubinski and most recently, Marthe.

Having released two-full lengths of emotive, atmospheric instrumental and/or wordless music throughout 2022 (“Forest Nocturne”& “Devotional“, Greg Anderson returns as The Lord with Worship: Bernard Herrmann Tribute, an album consisting of 9 new pieces of suspenseful and evocative guitar music, inspired by the film compositions of Bernard Herrmann.

The record begun in the Lord’s Cave throughout 2021-2024, finished in 2024 at Sea Grass Studios, Valley Village by engineer Brad Wood. Production was overseen by Greg Anderson and Brad Wood, and mixing and mastering was completed by Brad Wood.

This White Light

In March 2017, Greg Anderson (Goatsnake, sunn O)))) and Jade Devitt began to make music with one another again, having previously played together in the nineties with Engine Kid. Starting with the formula of extreme dynamics that they had perfected in the years previous as Engine Kid, the pair have added their more-than-twenty-years of musical experience and taken the music in a entirely new and different direction. Chance encounters and serendipitous moments solidified the final line up of THIS WHITE LIGHT with the addition of Bryan Herweg (Pelican) and Jen Wood (formerly of Tattle Tale and collaborator with the Postal Service. )
This White Light explore the contrast of darkness & light. Their music is delicate when called for, powerful when necessary. Their first recordings are here on this 3 song demo cassette release. Recorded by Gabe Vanbenshoten and mastered by Brad Boatright.

Catatonics

The Catatonics were Syracuse and Central New York’s first hardcore punk band. Besides pioneering the original 1981/1982 Syracuse Hardcore scene, their classic Hunted Down EP is considered one of the first hardcore thrash/metal crossover releases
Southern Lord Records will be reissuing Hunted Down as a 12” vinyl release with bonus tracks for Record Store Day 2022

Farmer Brown – Guitar
Jeff Jacques – Bass, Voocals
Belvy Klein – Drums, Vocals
Joseph D. Miller – Guitar, Vocals

Thurston Moore

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?

The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.

Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.