[engl] The complete discography from the seminal Milwaukee band Akarso, on vinyl for the very first time. All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on Akarso/Seven Days of Samsara Split 7” (Ricky Schroeder Fan Club 001) 2000. Songs 5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.

[engl] It’s probably wise that one “post” is enough. Post-rock. Most “established” record stores have a “post-rock” or “post-punk” section, now, in roaring ‘20s, and every year, as we uncover how glorious those first few Killing Joke albums were, or how influential Magazine, or say, even Shellac, were to a nation of millions, the pile grows taller. And for every inch, there’s a upstart group of misfits in some part of Indiana or Zagreb aping the next iteration of “post” that becomes an en vogue apparition. And we can’t fault those zip guns, they keep the blood flowing. But how do we come full circle, how do we add a “post,” is there life after Red Medicine? American Motors was established in 2023; not only to clear the drains, but to add that extra “post,” to cleanse the lives of those spent chasing the punk, post-punk, and heck, shoegazing dreams of a generation dosed by the DIY ideals of indie rock. Manipulating a post-pandemic narrative – because why can’t the narrative be manipulated now, by any means necessary? – is the duo of Dustin White and Alex Steward. Both have traveled Lewis and Clark paths towards a musical salvation that put them within the magma. Their CVs too voluminous to get into now, but rest assured, they’re coast to coast post-rock journeymen who have spent just as much time rewiring the gear as they have screen-printing the ‘zines, putting on house shows, and intently studying the lineage of those who came before. White and Steward talk of an “instant telepathy” when they first meet in Austin. There was a shared sentiment that in that post-pandemic world, the duo wanted to make physical music. Physical in the sense of volume, physical in the sense of hitting your instruments hard. There was a love of early Swans; the physical tumult, and the dust that settles after the storm and stress explodes. In practice, the sound of American Motors pits an enormous and feral rhythm section vs. meditations in minimalism, new age tonality, and repetition. “Colonial Lanes” is the perfect cultivation of this working-stiff cudgeling meeting its soft, ambient foil. With the scene set in a bowling alley dive bar, with the dredges (fallen angels?) of society “grinding their teeth from grinding those pills,” the song rides a giant, chasm filled, martial beat (the heartbeat from white crosses?), before making room for ripples of atmospheric guitar. In a song like “The Former Mall Anchor Store Call Center Blues,” the title kind of says it all. At American Motors, the quotidian becomes mythical, just as the post-everything bassline hypnotizes the listener to see something “where a mountain used to be,” there’s beauty in the nothingness, the crusted nihilism, the Dollar General close to the other Dollar General. Here those ripples peek through again, or maybe they’re waves of synth, a snake-church oscillator, and they do it just as relentlessly as the forceful rhythms, the sturm und drang, like sunlight through cheap aluminum mini-blinds. American Motors reflect that quiet sonic war. A leveling of post-expectations. You can have your corporeal catharsis and carve mazes in your brain at the same time. “There is a Twin,” is as much Jawbox, as it is Hysteria, as it is Iasos, as it is some post-iteration of Rodan they’ve never heard, or those rediscovered K-Mart loop cassettes. As an anthem of sorts for the band it contains their multitudes, but also a strict code. So ingrained with that blueprint – a post-rock bedrock informed by the metaphysical and the rust and grain belts - the duo, along with bassist Brad Williams, recorded their debut with J. Robbins in Baltimore. American Motors aren’t re-inventing the wheel as much as they are smashing it to bits, reconfiguring those bits into something that is what? A new wheel? Why not? This is one of those opportunities.

[engl] The classic first LP by Bald Eagle available for the first time on vinyl. Originally released in 2006 on CD by Emergency Umbrella Records and Collective Records. 15 years later Expert Work Records gives this classic a vinyl pressing. 11 songs re-mastered by Carl Saff (Saff Mastering) in 2021. Updated artwork by our friend M. Welch. And a impressive color in color (white inside of clear) vinyl variant that we are calling "over easy egg". Limited to a one time pressing of 200 copies. Bald Eagle, the Missouri quartet, released their groundbreaking album “Bacon And Eggs, Dear” in 2006. This album solidified their position on the post-hardcore scene and showcased their exceptional talent for combining various musical styles, resulting in a profoundly complex and progressive sound. Perhaps post-hardcore comes to mind first, but Bald Eagle’s musical prowess goes beyond this particular genre. They skillfully integrated elements of mathcore, math rock, noise-rock, post-rock, progressive rock, psychedelic rock, and even heavy metal into their compositions. The result is a captivating collection of songs that demands multiple listens to fully grasp the intricate layers and nuances within. One of the most striking aspects of “Bacon And Eggs, Dear” is the band’s exceptional ability to merge diverse genres seamlessly. Each track provides a unique sonic journey, offering something for even the most discerning fans of these varied music styles. The album showcases an array of incredibly complex themes, stunning leads, mesmerizing scales, harmonies, and intricate chord progressions, all contributing to its irresistible appeal. The interplay between the lead and rhythm guitars is a highlight throughout the album, creating an intricate ambiance that demands the listener’s complete attention. The collision of these two forces generates a mesmerizing sonic landscape where every note, every riff is deliberate and carefully crafted. The level of detail in the guitar work is astounding, showcasing the band members’ virtuosity and professionalism. You’ll also notice how the equally detailed basslines support these complex guitar arrangements but also provide heaviness, depth, and clarity to the entire material. The bass serves as the backbone, enhancing the overall sonic experience and further compounding the album’s intensity. Bald Eagle wouldn’t sound good without the exceptional drumming performance based upon well-accentuated beats, breaks, fills, and other percussive acrobatics. The syncopation and rhythmic dexterity exhibited throughout the album contribute significantly to its energetic, dynamic, and complex nature. Vocally, “Bacon And Eggs, Dear” delivers a powerful dose of aggression. The lead singer’s well-articulated screams and shouts punctuate the musical landscape, adding another layer of intensity to the overall sound. However, Bald Eagle also surprises the listener with clean vocal segments, showcasing the singer’s versatility and ability to explore different sonic territories. It is worth mentioning that the album’s vinyl release by Expert Work Record has done justice to this extraordinary collection of songs. The vinyl format allows for a more immersive listening experience, further enhancing the intricacies and depth of the band’s compositions. Also, the over-easy eggs vinyl, or should I say the color-in-color variant, enhances the overall appeal of this outstanding album. “Bacon And Eggs, Dear” is an exceptional album that pushes the boundaries of post-hardcore music. Bald Eagle’s fearless experimentation with various genres and their impressive musicianship create a comprehensive collection that caters to fans of mathcore, math rock, noise-rock, post-rock, progressive rock, psychedelic rock, and even heavy metal. The complexity, intricacy, and sheer virtuosity exhibited throughout the album exemplify their talent and creativity. “Bacon And Eggs, Dear” is a must-listen for any post-hardcore enthusiast looking for an unforgettable musical journey.

[engl] Clean Living, the 2016 full-length album by Bald Eagle, is a powerful and energizing record that showcases the band’s exploration into hard rock, progressive rock, and many other similar music genres. The album immediately grabs your attention with its aggressive and heavy sound, filled with dynamic drumming, intricate guitar work, and impressive vocal performance. From the first track to the last, Clean Living captures the essence of eighties and seventies rock, infusing it with Bald Eagle’s own distinctive style. The band’s mastery of their instruments is evident throughout the album, with each member shining brightly in the mix. The lead guitar delivers intricate themes, leads, solos, and melodies that elevate the material to a new level. These virtuosities decorate and uplift these compositions, adding an extra layer of complexity and intensity. The album wastes no time in making its impact felt. Each song punches the listener in the face with a wall of sheer power and energy. The enormous heaviness of the chord progressions and riffs creates an electrifying atmosphere that keeps you engaged from start to finish. While the material leans more towards rock than post-hardcore, it retains the impressive qualities of Bald Eagle’s previous recordings. The production quality of Clean Living is top-notch, allowing every instrument to shine brightly in the mix. The heavy guitar riffs, intricate basslines, and dynamic drumming create a solid foundation for the songs to thrive. The album is carefully crafted, with attention to detail evident in every composition. Their dedication to their craft is evident in the way they wrote, composed, and recorded these intense rock tracks. Clean Living is a must-listen for anyone who appreciates progressive hard rock music with a touch of post-hardcore. Bald Eagle has once again proven themselves to be outstanding musicians who have mastered their craft. Their ability to seamlessly blend different genres while staying true to their roots sets them apart from their contemporaries. Clean Living is a testament to their talent and commitment to delivering intense and powerful music.It is filled with aggression, heaviness, energy, and power. The intricate guitar work, complex chord progressions, and impressive drumming make this record a standout. With its perfect balance of instrumental prowess and impressive vocals, Clean Living is a must-listen for fans of progressive hard rock and those looking for a fresh take on rock music.

[engl] One of the signs of a genuinely talented act is that they can make a fan out of you even if you don’t necessarily like their style of music. I’ve never been that into the kind of blazing hard, riff-heavy indie punk metal that Bald Eagle plays. And yet by the second listen to this sophomore effort I was totally cranking it up, man (as the guys in Bald Eagle might say). What gives? The main reason for my enthusiasm is that this Columbia, Missouri quartet writes songs so infectious they seem to invade your central nervous system. Bald Eagle also soars through each number as if someone were holding a gun to their heads shouting “More energy! More power!” Finally, they have a hell of a sense of humor, giving their songs titles like “Those Are Cobras, Man” and “What’s All This Brew Ha-Ha?” The thrashy “Jammin’ the Wedge” consists of little more than the title being shouted repeatedly, yet its one of the best songs I’ve heard all year. Guitarists Danny Matteson and Mikey Wheeler crank out six-string harmonies that cross old metal with surf and punk, while drummer Justin McCready and bassist Justin Nardy make like early Red Hot Chili Peppers on speed. I was worried this record would court disaster. Now I’m worried it’ll earn me a noise violation, but when they drag me into court my only defense will be to shout: “Jammin’ the wedge, it gets you so up! Jammin’ the wedge, it gets you so up!”

[engl] The 1996-1999 Discography LP by Breaker Morant is an emo masterpiece. The band, hailing from Columbia, Missouri, featured talented musicians such as Ben Graham, Sam Dothage, Todd Ramsey, and Josh Browning. This incredible collective worked tirelessly during the nineties to create an album that showcases their skill, experience, and ideas. One of the most impressive aspects of this discography vinyl is the musicianship. Their skills shine bright from scratch to finish, and even when you think you heard everything, these guys find ways to impress you even more. While listening to this album, one cannot help but be impressed with the experience these musicians bring to their craft. Members Ben Graham, Sam Dothage, and Todd Ramsey were previously core members of the band Prozac Memory and honed their skills while playing together. After Prozac Memory disbanded in 1995, Sam Dothage continued to play in a band called Product 19, while Graham and Ramsey briefly started a new band before recruiting Dothage to start Breaker Morant. Their musical experience is apparent in every track on the album, with each song meticulously crafted to perfection. In addition to unparalleled musicianship and experience, their ideas shine on this material. The band showcases the ability to thoughtfully explore themes like love, loss, and self-discovery, making the album emotionally resonant. The lyrics are poignant and poetic, complimented perfectly by the powerhouse instrumentals of the entire band. Conversation Politics is unquestionably one of those standout tracks that showcases what you could expect from a band that perfectly controls melodies, harmonies, and other progressive orchestrations. This song perfectly demonstrates their ability to create mindblowing segments where every instrument emphasizes another. If you are looking for a track that defines Breaker Morant, then Conversation Politics is a perfect example. Another standout track is Menchu, which features the same intense instrumentations. Their experimentations with elements borrowed from music genres such as emo, post-hardcore, noise-rock, and punk rock are mostly hearable in this composition. The continuous manipulations with various time signatures, tempos, and complex guitar shreds will leave you speechless. Track like Cry, Cape Canaveral, Cry introduces more straightforward explorations into the nineties emo music, while songs like Addiction Soliloquy, Icosahedron, and Song Seven showcase more progressive combinations of emo, screamo, and post-hardcore sound. This discography release is a tour de force of the nineties emo music. Their unparalleled musicianship, experience, and ideas are on full display in every track, making this LP a must-listen for any emo fan. While their career was short-lived, their contribution to the emo scene cannot be forgotten. Expert Work Records did a tremendous job with the packaging and the extras. They put so much effort into this release, and it could pair those deluxe records by much bigger names in the game. You can pick between white or black vinyl (both limited to 100 copies) housed in a screen-printed high-quality cardboard sleeve. It also includes a twenty-page booklet with the story behind Breaker Morant, posters, flyers, photos, and other cool stuff. Also, you will get an 11×17 family tree poster. As I said, this release carries a lot of extras that vividly explain the importance of this band in times when the emo movement/scene was on the rise.

[engl] The 1996 full-length from the D.C. quintet, Corm. Members went on to Q and Not U, The Elusive, and The Maginot Line. Originally issued in 1996 as a co-release between Shute Records and Dischord Records. In 2005, Audio Flame Kit was re-mastered by T.J. Lipple at Inner Ear Studios and reissued on Polyvinyl Records with updated artwork. In 2023, Expert Work Records, and American Handstand released Audio Flame Kit for the first time on vinyl. Limited to 300 copies on opaque red vinyl, housed in a deluxe gatefold.

[engl] “Cougs,” the third full-length album by the band Cougars, showcases the group’s evolution while staying true to their primary sonic direction. This record picks up where the band left off with their previous recordings but also introduces some exciting innovations in their sound. One notable change in Cougars’ sound is the exclusion of keyboards and horn section. By stripping away these elements, Cougars created a more focused and stripped-down sound, allowing other aspects of their music to shine. This decision reflects the band’s growth and willingness to experiment with its established formula. The album also presents an upgraded approach to songwriting, composing, arranging, and producing music. Fans of Cougars, both old and new, will be delighted by the evolution in these areas. The band’s attention to detail is apparent throughout the album, enhancing the listener’s experience. For those unfamiliar with Cougars, the band explores a variety of complementary music genres such as post-punk, post-hardcore, noise rock, and math-rock. However, it’s worth mentioning that the band incorporates elements from other genres as well. These additions serve as necessary enhancements, accentuations, and decorations that elevate Cougars’ music to an entirely new level. Despite the incorporation of various genres, the band remains loyal to its primary sonic directions, creating a cohesive and unique sound. One of the most striking aspects of “Cougs” is the cleverly assembled, complex patterns that form the basis of each song. Cougars expertly craft intricate chord progressions, riffs, melodies, and themes, which immediately capture the listeners’ attention. These catchy and often noisy elements create a captivating sonic landscape that engages the audience from start to finish. The basslines on this album deserve special recognition. They provide a sense of heaviness, depth, and clarity to the ambiance. These warm-sounding notes complement the complex patterns and serve as a solid foundation for the other sonic maneuvers at play. The drumming sequences on “Cougs” are nothing short of mind-blowing. Energetic, groovy, and well-accentuated beats, breaks, fills, and other percussive acrobatics drive the songs forward. The intricate drumming adds an extra layer of complexity to the music, demonstrating the band’s exceptional musicianship. The vocalist delivers a range of vocal styles, including articulate screams, shouts, and clean vocals. These vocal techniques and arrangements further accentuate the intricate orchestrations and guide listeners through the exceptional compositions with precision. Cougars has once again delivered a standout album. With its cleverly assembled post-hardcore, post-punk, noise rock, and math-rock elements, the album is a treat for fans who appreciate flawlessly crafted music. The band’s exclusion of keyboards and horn section, their upgraded approach to songwriting, composing, arranging, and producing music demonstrate their growth and willingness to push boundaries. “Cougs” exemplifies Cougars’ continued dedication to their primary sonic direction while exploring new and exciting territories. It’s also good to mention that Expert Work Records did an incredible job by picking maroon/gold opaque galaxy and standard black vinyl for this release. These colors perfectly match the outstanding artwork that decorates the packaging. The jaw-dropping watercolor paint of the cougar on the front matches the Cougars’ abstract, intense, powerful sound, and gives an entirely new dimension to this release.

[engl] Coward, a Kansas City-based post-hardcore band. The band recorded this 12? EP in Milwaukee, WI, with the help of Shane Hochstetler of Howl Street Recordings, and it was supposed to be the follow-up record to the Coward LP. However, these songs were almost lost forever due to the malfunctioned hard drive. Fortunately, with the help of Element Studios in Kansas City, the EP was discovered and brought back to life. The EP features five instrumental songs that showcase the band’s musical range and versatility. From the dual drumming experimentations, jaw-dropping keyboard leads, themes, harmonies, and melodies to the heavily distorted basslines and various shreds, virtuosities, and improvisations delivered on raging guitars, Coward cleverly blends intricate prog rock with catchy jazz, post-rock, math rock, and post-hardcore textures. Every note beat, and melody is delivered with mindblowing precision and intention, revealing Coward’s technical prowess and commitment to the craft. This exceptional extended play release commences with Annoying Is Half The Battle, a dynamic piece that starts with drum fills but immediately transits into a harmonious collision of powerful riffs, keyboard leads, and moderate beats. The band’s ability to seamlessly blend some of the finest properties of the beforementioned styles goes beyond comprehension so many times during this track, but it’s also vividly hearable on the remainder of this release. Compositions like Working In The Garden, The Thing About January Is, Simon’s Quest, and Heroin Trumpet include many sonic delicacies and rhythmic sequences often delivered in various time signatures, tempos, and other non-standard features. The band bursts with sheer power, dynamics, and mesmerizing ambiance achieved by blending all the abovementioned instruments. Every musician showcases a comprehensive collection of impressive ideas distilled into precise musicianship. The collisions between the keyboard, guitars, and bass are particularly noteworthy, and they flawlessly match everything these drummers have up their sleeves. Thankfully, the band managed to save these recordings because it would be such a shame if these tracks were lost forever. Their EP is a testament to the band’s skill, creativity, and dedication to their craft. Each song is a masterclass in musicianship, showcasing the band’s impressive range of influences and their ability to seamlessly blend different genres and styles. The dual-drummer lineup is a particular highlight, adding depth and complexity to each track while never overwhelming the other instruments. The band’s decision to keep the songs instrumental also allows them to showcase their technical abilities without sacrificing the emotional impact of the music. This self-titled EP comes on a limited one-sided 12 ” vinyl housed in a high-quality cardboard sleeve decorated with eye-peeling ornaments. The black inlay carries a band photo and information about this record. As usual, Expert Work Records have put tremendous effort into the packaging, so prepare yourself for a fantastic audio and visual experience.

[engl] The debut LP by Denude from Chicago, IL/Milwaukee, WI

[engl] Drill For Absentee reformed in 2021 after a 20-year hiatus with a plan to record a single, new song and release it on the internet. The impetus for this project was twofold: DFA released very few tracks in the 1990s and had a thin catalog, and making music in the post-hardcore style is a fun and engaging musical endeavor that the band members were eager to take up again. Michael Nace and Kevin Kelly teamed up with Okinawa drummer Ken Kuniyoshi and embarked on a fully remote recording odyssey. One song grew to 4 and then 8. The Strand of a Lake, Volume 1 EP was released on September 13, 2022, with Volume 2 to follow in due course. In the interim, it seemed like a good idea to re-release the long out-of-print releases originally issued by The MindWalk Recording Label on one 12-inch vinyl record. The Circle Music EP was released on CD and never had a vinyl release, and only 1,000 copies were pressed for the debut, self-titled 7-inch. This new “Circle Music + 4” edition features all of the band’s previously released music from the 1990s – the 5 tracks from the Circle Music EP plus the 2 tracks from the 7-inch – as well as “Drown In Words” from the 7-inch session and “The Sea is Watching,” a new track. “Drown in Words” was a frequent song opener for DFA in the 90s and remained in the band’s repertoire until they stopped playing in late 1999. The original master tapes for this song are lost, which is why the sound quality is diminished. “The Sea is Watching” was worked on by the band in 1998 or 1999 and later abandoned. This new version uses a bass track recorded by Kevin on DFA’s 4-track recorder from the late 90s and augmented with new musical ideas from the band and drum grooves from new DFA drummer Ken Kuniyoshi. The sung melody is also a remnant from the late-90s arrangement.

[engl] Haii Usagi is a two piece electronic/exerimental band from Columbia, MO. Members consist of Pete Hansen (Drums and Keyboards) and Eric Burch (Keyboards, Synths, and Programming). FFO/RIYL: Aphex Twin, Kraftwerk, Tobacco, Holy Fuck, Mahjongg, CHK CHK CHK, Daft Punk, etc.

[engl] Dark/Light, the extended play release by New Tongues, is a mesmerizing journey through a blend of complementary music genres that shape a luxurious and reverberant ambiance. While the noise-rock influences are apparent, the EP also draws inspiration from post-punk and post-rock, resulting in a truly incredible musical experience. One of the notable aspects of New Tongues’ sound is their specific approach, which often combines minimal and complex instrumentations. Many of their compositions start with intricate rhythmic patterns and heavy basslines, gradually layering guitars and vocals on top. The guitars play a crucial role, offering raw, abrasive, and heavily distorted themes, leads, melodies, harmonies, chord progressions, riffs, and other virtuosities that shine brightly in the mix. The lead vocalist’s contributions further enhance the orchestrations through a clever combination of shouts and clean vocal harmonies. His delivery perfectly complements the intense and atmospheric nature of the music, adding another layer of depth to the overall sound. One of the most striking elements of Dark/Light is the reverby and rehearsal-like production quality. The EP is drenched in a decent amount of studio reverb, creating a mystique and obscure atmosphere that enhances the listening experience. This particular detail adds an eerie note to the ambiance and further immerses the listener into New Tongues’ world. Dark/Light is an essential listening experience for fans of the genre, as New Tongues masterfully blend noise rock, post-rock, and post-punk into a colossal slab of well-articulated noise. The EP showcases the band’s expertise in crafting intricate compositions that simultaneously captivate and challenge the listener. The attention to detail and the musicianship displayed throughout the record exemplify the band’s experience and talent. The EP opens with the title track, “Stay Woke,” a brooding and atmospheric piece that sets the tone for what’s to come. The drums provide a steady foundation, while the bassline adds a hypnotic groove. As the guitars enter, the song builds in intensity, culminating in a cathartic release that leaves a lasting impression. Another standout track is “Gentle Release,” which showcases New Tongues’ ability to create dynamic and nuanced compositions. The song features intricate guitar work, shifting between atmospheric textures and blistering riffs, all anchored by a tight rhythm section. The vocals intertwine with the instrumentation, adding a layer of complexity to the overall sound. “Beautification Project” serves as a fitting follow-up, combining elements of noise and post-rock to create a captivating sonic landscape. The song builds gradually, with layers of guitars and vocals intertwining to create a sense of tension and release. The track showcases the band’s ability to create an immersive and emotionally charged musical journey. New Tongues also showcase their admiration towards electronic music with “Salt The Fields,” which also closes this exceptional material. Their combination of minimal, cinematic, downtempo ambient with classic electronic music comes as a bit of refreshment and perfect closure to this EP. Dark/Light by New Tongues is an EP that demands immediate attention. The band’s skillful blend of noise rock, post-rock, and post-punk resulted in a colossal slab of well-articulated noise. The intricate compositions, heavy basslines, abrasive guitars, and atmospheric vocals create a mesmerizing ambiance that is both intriguing and immersive. Dark/Light is more than rock-solid proof of their craft, and it will undoubtedly leave a lasting impression on anyone who listens to it.

[engl] Suite is the follow up EP to New Tongues 2013 release We Are The Ones We Have Been Waiting For. Suite was recorded in a single weekend in Columbia, MO at a undisclosed location, using a mobile recording studio. Suite consists of four songs and clocks in at 22 minutes.

[engl] New Tongues debut 8 song LP. 8 songs clocking in at 40 minutes, comes w/ download code. Recorded after playing only 4 shows. For fans of Young Widows, METZ, Wipers, and Hot Snakes.

[engl] Street Stains is undoubtedly one of those that you need to hear as soon as possible. Their 10? self-titled album is a masterpiece that showcases the impressive collective talent of Chris Richards (Q and Not U, TK Echo, Paint Branch) and Sean McGuinness (Pissed Jeans). This material captivates the audience with its abrasive riffs, thought-provoking lyrics, and overall attention to detail. Their debut carries fourteen exceptional compositions that will satisfy even the pickiest punk rockers. However, their version of this particular music genre comes with a twist. Besides all the punk rock fundamentals, you may expect some of the finest properties borrowed from other complementary music genres like garage rock, noise rock, or maybe grunge. Of course, all these additional elements serve more like enhancements, accentuations, decorations, and other details while they remain loyal to the primary sonic direction. Street Stains glide through all the significant eras of these music genres, so you may notice how their music blossoms with the qualities of late sixties to mid-seventies garage rock, late eighties indie and noise rock, and early nineties grunge. Still, the duo combines all these with all the eras that made punk rock sound incredibly catchy, energetic, aggressive, and dynamic. Some listeners might notice the lack of bass guitar from the mix, but the heavily distorted, abrasive, and raw chord progressions and riffs compensate for it. However, these compositions don’t sound stripped down by any means. Quite the contrary, it’s pleasantly surprising how luxurious and detailed they seem, considering there are no basslines to support some of these guitar maneuvers with more clarity and density. Every composition comes with a comprehensive collection of brilliant ideas showcased by the exceptional musicianship provided by these experienced musicians. It’s also interesting how these musicians articulate together throughout the entire album, and you’ll notice they’re enormously organized and precise on each track. It’s also good to mention that the duo thoroughly thought about all the vocal arrangements, and you’ll hear how the perfectly balanced ratio of low, mid, and high notes suit these songs. Chris Richards and Sean McGuinness thought about everything while assembling this material, and their debut 10? is something you need to hear if you’re into raw and catchy punk rock sound. Also, this vinyl is a fine piece of art, thanks to Expert Work Records. The die-cut packaging looks divine, and the combination of colors is so effective. This visual identity follows the dark and light blue split color vinyl, and Street Stains 10? will appeal to all the punk rockers looking for a divine audio-visual experience. In the summer of 2008, Chris took the bus from Brooklyn to Philadelphia every Thursday afternoon to jam with Sean and watch the Olympics. They wrote more than 30 songs.Then they forgot about them until January of 2013. Chris was now living in D.C., and Sean convinced Aaron to cart his Tascam-388 up to Philly for an afternoon of recording. Captured on tape for the ages, these songs were quickly abandoned once more -- until the summer of 2014, when Chris finally recorded the words with Aaron back in D.C. Everybody forgot about the songs one more time before reconvening to mix them in the spring of 2015. And then -- after another two years had vanished into oblivion -- presto! "Street Stains" was released in January 2017 and can finally be forgotten forever.

[engl] The lost companion EP to The Unbearable Tightness of Being, by Ohio's, Sweetheart. Recorded by the band in a warehouse in Columbus, Ohio. Spring 2005. Limited to 300 copies on 180 gram vinyl and digital.

[engl] "The lost full-length from Kent/Columbus Ohio's, Sweetheart. Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the summer of 2005 out west, while on tour by Vince Tennant. The recording had set shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and got the recording re-mastered. It will be released on limited vinyl and digital winter of 2024. Limited to 300 copies on black 180 gram vinyl

[engl] Tintoretto’s self-titled album is a rerecording of their previously released catalog, which was originally split between two releases; an e.p. and a four band compilation compact disc. This release was originally thought to be just a simple remastered collection, but upon further thought, the decision was made to rerecord the songs altogether. The albums tone consists of angular, discordant rock with math rock influence dusting underneath. The eight songs span the breadth of emotion; love, loss, death, betrayal, euphoric happiness; the lot. Originally these songs were recorded by Eric Atkinson in various basements in the late 90's. The songs were then rerecorded by Shane Hochstetler, at Howl Street Recordings in Milwaukee, Wisconsin from December 2021-February 2024. Influenced by the nineties Louisville Kentucky and Washington D.C. music scenes; a juxtaposition of angular guitars and pounding rhythm section (Rodan, Shipping News, June of 44, Fugazi, Hoover, Regulator Watts, The Crownhate Ruin, and The Last Crime).

[engl] Music project of Todd Ramsey (Prozac Memory, Breaker Morant, Wintergreen, The Handshakes) and Justin Nardy (Amputee Set, Bald Eagle, New Tongues). Missouri based project not intended for live performances.