After Music Recordings
a micro record label based in Minneapolis providing small pressings of uncommon, unusual and unpopular vinyl recordings
Posts
now taking orders for F/I and Boy Dirt Car
split blue vinyl “12
aftermusicrecordings.com
F/I & Boy Dirt Car splt vinyl to be pressed in Blue
in the next days and on sale at aftermusicrecordings.com
TENSE EXPERTS 1982
TENSE EXPERTS cassette 1982 recording
re issued on Compact Disc in limited edition of 80 copy s
May 26 2012 release date
Born in Rockford Ill moved to Milwaukee in 1980 .
Re forming to perform at Milwaukee’s ” Lest We Forget ” festival 5/26/12
what we do at After Music Recordings !
Teenage Strangler rides again. this time for Manimal Quartet’s LP release, which we are really really excited for… Josh Mead made a really great poster for the show but someone nabbed it it from my work right away so i decided to make a very simple one to replace it.
NEW RELEASE
MANIMAL QUARTET / MANHORSE 3 VINYL IS NOW AVALIBLE
aftermusicrecordings.net
Manimal Quartet will be celebrating the release of there
vinyl 12” on February 23 @ 7 Th Street Entry in Minneapolis
2012 the year of the Minneapolis Man band’s !!
Test Pressing of Manimal Quartet & Manhorse 3 the Meat Bag have arrived at H.Q.
kicking off - January 2012
We will be kicking off the new year with Debut vinyl by Minneapolis’s Manhorse & Manimal Quartet
Steve Mackay “North Beach Jazz” is available now
Tenor Sax
Steve did play the same tenor sax on ’ North Beach Jazz ” as he did on
“fun house”
OUT NOW at Web Store
Steve Mackay ” North Beach Jazz “
Mackay’s first Jazz LP w/ Mike Watt on bass
The International electronic music collection on After Music Recordings
Launching in fall 2011
The International electronic music collection on After Music Recordings
with
-Fear Konstruktor from Moscow
-Maria Askatu from Spain
-Giftstrauch from Germany
10% off any LP sale at After Music Recordings
We are having a Special at After Music Recordings web store
10% off any LP enter code 00000
Audio
Posts
December 17, 10:36 PM
F/I and Boy Dirt Car split
vinyl 12" pressing of 200 on Blue vinyl
all new material by both F/I & Boy Dirt Car
Two color cover art by Josh Mead
April 04, 04:21 PM
Boy Dirt Car " Black house for Scott"
10 minute live recording from Cafe Voltaire 1985
Classic line with Eric Lunde on vocal
Limited to 80 Compact Disc only
avalibe on
Friday May 18- Green Bay Phat Headz
Saturday May 19 - Milwaukee -Shank Hall
Thursday June 7- Chicago -Empty Bottle
Friday June 8 - Milwaukee - Borg Warg All Ages Show
April 03, 02:24 PM
TENSE EXPERTS cassette 1982 recording
re issued on Compact Disc in limited edition of 80 copy s
May 26 2012 release date
April 07, 08:06 PM
Boy Dirt Car 2012 Poster
Designed and screened by Josh Mead
edition of 62
Summer 2012
Friday May 18- Green Bay Phat Headz
Saturday May 19 - Milwaukee -Shank Hall
Thursday June 7- Chicago -Empty Bottle
Friday June 8 - Milwaukee - Borg Warg All Ages Show
December 05, 11:04 AM
"Manimal Quartet is Aaron Wanzerski and Josh Mead rocking out their secondhand guitars atop beats from a dusty Korg drum machine.
Mead, who is behind a significant amount of the After Music label’s cover art, is the instigator behind the Manhorse split, as well.
As we’ve come to expect from After Music, both groups boast post-punk attitude with nonlinear songwriting not meant for the masses.
And that’s a good thing…"
Debut vinyl by Minneapolis's Manhorse & Manimal Quartet
includes a 16 page minicomic with graphic representations of each song.
Limited first pressing of 100 with three color screened covers by
Josh Mead
September 15, 09:02 PM
Steve Mackay's first all jazz vinyl LP .
Joined by Mike Watt
Very Limited Pressing with two color print by Josh Mead
Available September 17 2011
July 20, 02:00 PM
Famila design by Josh Mead
Black ink on white shirt
Womens Large-XL - men XL
October 25, 06:41 PM
Scottish Independent Music Review:
"WOW.... This is one Hell of a Jekyll and Hyde album."
This vinyl album see's the latest works by Boy Dirt Car and Andy Gallagher. Two very different sounding artists that you would not think of putting together, but strangely work amazingly well on this release.
Boy Dirt Car's side "Treacherous Young Witches" is an unnerving yet deeply satisfying 20 plus minute piece of Electro noise/alternative work, that would be an amazing soundtrack to a Sam Raimi, David Cronenberg, Guillermo Del Toro, Lucio Fulci or Ed Wood film. A really refreshing piece of work that will set your "Horror" imagination wild. We look forward to hearing more soon. 4 *'s outta 5.
Andy Gallagher's side of the vinyl opens with the instantly memorable "I Should've Stayed In Bed Today" and features Mike Watt (Minutemen/Stooges) on bass. We guarantee it's a song that'll stick in your mind for the rest of your day. "Calm Before The Storm" and "If Only I Could" are straight out rockers that will be instant crowd pleasers. The closing track "The Warmth Of Your Love" is an acoustic track filled with Organ swells, soft harmonica and has the sound of a fire place throughout the whole track that really sets a definite mood for this well written love song. 4*'s outta 5.
Split LP featuring 1st International rock artist joining the After Music
Recordings Scottish Andy Gallagher
Limited pressing of 300
Original artwork from Josh Mead and Astrid Young (Neil Young’s sister)
“Boy Dirt Car has got the drift again, Boy Dirt Car revived…” with
Treacherous Young Witches: a textural affair of layers with echoing &
twisting noises, guitar undercurrents and the like, interrupted by razor’d-
electro-noise eroding the music away. Enter “Louis’s Bounce” a bounce-
heavy, clanking rhythm-bed, with touches of marimba, fused with found
sounds and spoken tantrums. 20 minutes… organic as a kitten and as
possessed as the Oracles mono-toned pronouncements.
The flip features Andy Gallagher enlisting the help of Mike Watt
(MINUTEMEN), Mike Hoffman, Steve Summers and Graham Brown.
The instantly memorable opener “Should’ve stayed in bed” is
reminiscent of a melancholy Grant Hart that wont leave your memory
anytime soon. This 4- song effort then merges into tracks touching Andy
Gallagher’s influences DINOSAUR JR, SEBADOH, NEIL YOUNG and
Sailor Jerry. A great testament to why Andy Gallagher has opened for
Dinosaur Jr.
July 20, 02:25 PM
New recording “Familia”
After Music Recordings-issuing vinyl pressings of 300 12” with screened
covers by Josh Mead
Pressing of 300
Mood Vertigo Recordings-will release to i-tunes the digital version
Both releases are different edits
Recording taking place in St, Paul and Milwaukee
“Familia”
Considered to be one of America’s premier noise bands; Boy Dirt Car
returns with the classic line up: Darren Brown, Dave Szolwinski,
Dan Kubinski, Keith Brammer, Steve Whalen , Jeff Hamilton .
Joined by guests: Rico McCoulm, Mike Sawyer
Josh Mead and Jarrod Olman
Familia is a sermon or call it soundtrack to a beautiful yet
distrurbed mantra with a possible insight to breakdown. Enter
found sounds combined with interludes of thrashed out bass,
distorto guitars, and manipulations alongside vocal musiings and or
tantrums. The almost choral-like vocals musings inserted within and
around readings toward enlightenment or demented pictorials,,,make
it what you will.
So advisedly take in this noise recording (especially on head phones)
as we are unsure they will EVER be seen live again .
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VITAL WEEKLY
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number 745
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week 35
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BOY DIRT CAR - FAMILIA (LP by Aftermusic Records)
After Music Records announce Boy Dirt Car to be one of 'America's
premier noise bands', from the 80s, which is of course media talk,
and after a long disappearance they already did a comeback CD
'Spoken Answer To A Silent Question' (see Vital Weekly 605) and
now come back, again, with a LP with the classic line up, albeit still
without Eric Lunde. But Darren Brown is still there, along with
compadre's as Dave Szolwinski, Dan Kubinski, Keith Brammer,
Steve Whalen and Jeff Hamilton plus a couple of guests. We have
here a record that is more noise based than their previous CD,
using lots of guitar, bass and metal percussion and a crazy set up of
cut up vocals and voices. Much more unsettling than the rock
drones offered on 'Spoken Answer To A Silent Question', with a
large role played by the vocals of Darren Brown (we remember his
industrial music poetry project Impact Test very well). No careful
constructed ambient industrial patterns this time but two sides of
mayhem. Hardly composed
as such, but instead it seems thrown on the magnetic tape, splicing
unrelated parts together. While the cover lists individual tracks, the
whole thing comes across as a long track, for some convenience (?)
sake given a bunch of titles. The mayhem doesn't constitute of just
pure noise, or pure feedback, but, on the other hand its a great
collage of sound snippets, instrument abuse and electro-acoustic
rumble taking to an extreme. Excellent noise stuff. Two different
approaches - the previous CD and this LP - but both with a great
quality. (FdW)
Address: http://www.aftermusicrecordings.com
February 09, 12:16 PM
Peter J. Woods “Songs For Nothing”
Limited pressing of 300
Red Vinyl
Original Artwork by Josh Mead
Peter Woods J. - “Songs For Nothing” - [Aftermusic]
Spectacular “noise” release on the aptly named AfterMusic label.
In the vein of Sudden Infant and Panicsville, Woods’ use of sonic
blasts of throttling blots of electronics is balanced by plenty
of breathing space, and broken musical excerpts (piano flouncing,
guitar spritz at the end of the first track, keyboards often
filtered in at other times). Something about the alternating
black and white of noise bursts and nothingness is key (just
as compelling as the black and white art work). Some modulated
Iugula Thor screamgasm on “Miles Traveled/Earth Beneath” is
contrasted with sampled strings climbing your spine. Then into
some burrowing bass and vox humana humdrone. This release has
a lot of “vocals”, not entirely dehumanized and power-electronified
ones either. “The Notion of Progress Accepted as Myth” has these
great digitally sputtered ones, “Collapse at a Distance” has a
mournful, faroff foreign lament over sad gut-string twang before
blowing off some serious steam samplage. The closing track has
these sort of war whoops run through distortion and reverb and
then battling some sort of arcade video game, and ultimately
the game wins. Like I said, spectacular in the sense that this
has so much for the ears, it overflows into your eyes. Hope to
hear more and turn more folks on to this Milwaukee squakee
talkie!
-Thurston Hunger
Check out : http://experimentalmilwaukee.com/peterjwoods
Milwaukee based-conceptual artist Peter J. Woods believes: “ Music has the wonderful ability to speak to both intellect & instinct.”
“In respect for the vinyl medium I think it’s great that artists have the ability to force people into specific listening environments. So to have a full length out on After Music Recordings is just flat out awesome.”
“Songs for Nothing” develops a central sound as in guitar drone, a feedback device, starting with an image/concept to develop the piece around. Scathing, abruptly unapologetic harsh noise.
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VITAL WEEKLY
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number 771
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week 10
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PETER J. WOODS - SONGS FOR NOTHING
(LP by After Music Recordings)
After Music Recordings 'is a family run micro record label
based in Minneapolis' and we primarily know them from
releasing music by the revived Boy Dirt Car. I never heard of
Peter J. Woods, I think, who believes that 'has the wonderful
ability to speak to both intellect and instinct'. His music is
guitar based and pieces usually start with an image, although
none are forthcoming with the album. The press text reads
about 'scathing, abruptly unapologetic harsh noise', but its
not. At least not all the way in and out. There is something of
that Boy Dirt Car kind of noise approach here. Yes, its loud,
yes, it has some harsh noise, but Woods breaks things up in
silence too. Or they start out very low but then start build up
in a massive way. More a collage like approach then
necessarily something that is just a wall of noise sound. Just
as I like it, probably. Taking the best of noise, and then
moving it into the land of electro-acoustic, musique concrete
and such like to create
four
movements of intense music, with lots of great dynamics.
Energetic, mean, aggressive and with lots of great power. On
red vinyl, in an edition of 300 copies. (FdW)
Address: http://aftermusicrecordings.com
IR
July 20, 02:35 PM
First BDC L.P.
from 2nd pressing of 500
on RRR Records
February 25, 12:54 PM
1994 0n RRR this three LP box set is limited
BDC were formed by Darren Brown and Eric Lunde in 1981 after the two young punkers met Glenn Branca at a Chicago noise-music festival. Gathering a few friends together for jams, they proceeded to play with a revolving-door line-up that usually consisted of Brown, Lunde and any drunken and/or drug-addled buddy they could string along. Finally settling on a semi-stable line-up that consisted of the duo and Keith Brammer and Dan Kubinski of Die Kreuzen on various metal percussive instruments and noise-making devices, BDC found their feet and were soon hailed by well-meaning folks as America's answer to Einstürzende Neubauten. Inactive as a band for many years, Eric Lunde in the meantime released some solo records and Darren Brown formed Impact Test.
March 30, 05:56 PM
"The Prisoner " 7" is available at After Music Recordings
The good news that Mackay has put together a solo album. And better still that he's enlisted his buddy Iggy Pop to lend his vocals to a 7 " track called "The Prisoner."
March 15, 2011 (New York, NY) -- Stooges sax-man Steve Mackay is one of the sweetest guys in rock. He'll talk for ages about the band without a hint of ego and with an honesty that's sorely missing in the music industry these days. He's also one of the most gifted and unique players out there and is tremendously supportive of indie artists
So it's
The album is called "Sometimes Like This I Talk" and it's available now on iTunes and Amazon
July 20, 03:52 PM
AFTERMUSICRECORDINGS announces
Limited 150 copy pressing
with screened covers by Josh Mead
Texar
From Minneapolis, Minnesota USA an improvisational duet.
Featuring Darren Brown (electronics/recordings) and
Richard McCollum (guitars/theremin) performing:
"The Unfortunate Rake"
TEXAR performed often throughout the midwest between
2007 and 2009, yet have more recently disappeared
Maria Askatu
From Vittoria, Spain, this debut recording is a shadowy
recording collective lead by Jarrod Olman with an untitled
collage recorded in their Basque homeland and Amsterdam
Very little is known about this shadowy recording collective,
with this recording made in early 2010. Unconfirmed rumors
of a "performance" in Northern Spain are abound.
November 2 2010
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VITAL WEEKLY
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number 754
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week 44
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TEXAR/ MARIA ASKATU (12" by After Music Recordings)
Darren Brown from Boy Dirt Car has got the drift again. Boy
Dirt Car revived, but here he is present with two different
outfits. Somewhere between 2007 and 2009 he played as
Texar, with himself on electronics and Richard McCollum on
guitars and theremin and played some concerts in the
Midwest of the USA, yet 'more recently disappeared'. The
music is all improvised and shows traces of Boy Dirt Car: the
gritty dirty sound of feedback like guitars, taped voices and
quite obscure electronics. A pretty lo-fi recording seems to
be doing the rest. A somewhat sketchy affair when it comes
to improvisation, exploding into bouts of noise towards the
end.
Brown is also part of a collective led by Jarrod Olman from
Spain called Maria Askatu. In this 'collage' they have
recordings from the Basque homeland and Amsterdam. Here
too we find a Boy Dirt Car influence, but also Brown's solo
work: organ like sounds, rumbling of metallic sounds, water
sounds, and mumbling voices. Perhaps constructed as part
of some ritual? Quite a mysterious piece of music, I'd say. A
collage indeed. This side I enjoyed more than the somewhat
dislocated Texar side, but throughout a pretty enjoyable
record. Crude music by and for crude people. No doubt.
(FdW)
Address: http://www.aftermusicrecordings.com
April 07, 09:37 AM
Steve Mackay has enjoyed an extraordinary underground career, but with this newest
release, his Stooges mates have made contributions as well. Mike Watt, a legend in his own right, is featured through
out the full length disc and the lead off single features vocals by non-other than Iggy Pop himself.
July 20, 02:44 PM
debut L.P. from a band you will never see again
Impact Test
Members:
Darren Brown, Karl J. Paloucek, Krisann Parker-Brown, Peter Balestrieri, Steve Wahlen
April 06, 12:30 PM
El Asiento
7 " vinyl by Darren Brown
on DOLOR DE ESTAMAGO from Mexico
last copies of only pressing Very Limited
July 20, 02:55 PM
Compact disc - touring 2009 edition
Project Credits
Andy Bosnak Assistant Engineer
Keith Brammer Guitar
Darren Brown Cover Art Concept, Organ, Piano, Sampling, Sound Effects, Tape
March W. Burch Mixing, Sampling
Doug Byers Recording Coordinator
Bob Friedman Engineer
Robert Rebeck Mixing
Recorded in Lawrence Kansas and Milwaukee Wisconsin
July 20, 02:32 PM
2007 reunion recording
In one of the most unlikely reunions of recent years, seminal Milwaukee noise group Boy Dirt Car announces the release of its first new recordings since 1988. Spoken Answer To A Silent Question brings together several original members -- co-founder Darren Brown, Keith Brammer and Dan Kubinski (Die Kreuzen), T.S. Wahlen and Dave Szolwinski -- and, consistent with Boy Dirt Car's classic revolving-door lineup, brings in several newcomers, including longtime Milwaukee mainstays Peder Hedman, Karl Paloucek and Jeff Hamilton. For much of the 1980s, Milwaukee was home to Boy Dirt Car's brooding sound. Influenced as much by Wisconsin's brutal winters and the dark tales of its North Woods as by any of their avant garde contemporaries, the group forged a sound different from other so-called 'industrial' bands of the day. As one reviewer once put it, 'Boy Dirt Car creates a sound not like being in a car crash, but of being under one.' Just as it cadged its industrial instrumentation from scrapyards and roadsides, BDC culled its members from across Milwaukee's vibrant music scene of the time, building up an intense following and a reputation as one of the city's most potentially hazardous acts. At the same time, the group recorded numerous (now-legendary) cassettes and LPs which, while escaping the ears of Rolling Stone, garnered them coverage in The Wall Street Journal, and -- even more unlikely -- from late advice columnist Ann Landers."
July 20, 02:58 PM
Australia reissue/ remaster of two L.P.s on one disc
Originally issued by Lexicon Devil in 2003. Milwaukee's Boy Dirt Car were their good city's preeminent punk-noise-industrial outfit who roamed the state and country from roughly 1981 'til 1989. Formed by the disgruntled duo of Eric Lunde and Darren Brown after being inspired by a local cacophonous Glen Branca gig, they decided to gather a group of fellow miscreants from the Milwaukee punk scene with a mission to create a truly inspired, ungodly, riot-inducing racket. Roping in, amongst others, Dan Kubinski and Keith Brammer from local hardcore kings, Die Kreuzen, they formed Boy Dirt Car. With a sound approximating some sort of bizarre stew of Throbbing Gristle, early Sonic Youth, Birthday Party, AMM and Einsterzunde Neubauten, they set about documenting themselves through a slew of self-released cassettes. Playing the circuit with everyone from Fred Frith to Flipper to Shockabilly to Screamin' Jay Hawkins(!), BDC caught the ear of noise aficionado, Ron Lessard, of the famed RRR label out of Massachusetts, who released the 1986 split LP with fellow Milwaukee space-rockers, F/i. Winning praise from the hipsters and running through a few pressings for its troubles, the band went and did it again in 1987 with their debut full-length, Winter. Both of these have been out-of-print for almost 15 years and never been given the CD treatment, until now. So why bother with Boy Dirt Car? For the simple reason that they are one of the great missing links in '80s U.S. punk-noise underground culture. Listening to the CD is like revisiting a time in history that really drew a line in the sand: are you with us or not? It was a time when "getting in the van" was all a "challenging band" could do to survive; a time when Whitehouse and Black Flag were one and the same; a time when "industrial" meant more than some New Romantic reject churning out z-grade speed-metal riffs with a drum machine. It's all part of a link to a puzzle, and Boy Dirt Car, as obscure as they may seem, were truly one of those great links that need reinvestigating. "...Boy Dirt (Car) share a member w/Die Kreuzen, are all pals w/Steve Albini and are often referred to as America's Einstug. That's not the most accurate thing in the world, but they are damage of an industrial nature and they don't suck. Not at all." --review of the BDC/F/i split LP, Forced Exposure, Winter 1987
July 20, 03:01 PM
Originally issued in 2001 by Lexicon Devil. Boy Dirt Car may hardly be a household name in the world of pop, but for noise aficionados worldwide, those three words conjure up visions and dreams of a time when the words "noise" and "industrial" really meant something. Starting out in Milwaukee in '81 with the duo of Eric Lunde and Darren Brown, they eventually settled into a semi-stable quartet line-up that also featured Dan Kubinski and Keith Brammer of local hardcore kings, Die Kreuzen. With a string of albums on the RRR label (there's also a boxed set in there) and even an appearance on the seminal Sub Pop 100 LP, BDC made their stamp in the underground, but then sadly called it quits in the late '80s, while individual members pursued other projects. Amidst this mess and turmoil lay Heatrig, their swan song and finest moment, left unreleased until now. The BDC "sound" is not easy to pin down. There are some graspable elements in place: the metal-banging clang of Neubauten, the drones and scrapes of Nurse With Wound or early SPK and the uncategorizable "rock" stew that made Die Kreuzen such a fine band in their day, though mainly BDC remain BDC. Forever and always.
July 20, 03:12 PM
2010 release with cover by Josh Mead
pressing of 300
"Samuel Locke Ward vs. Daren Brown came on stage with the two aforementioned gentlemen: one with guitar and one with a table of electronics. Blasting through a set of garage rock fuzz, synthesizer processing and drum sample madness, they showed the crowd how noisy two men with gusto can be. Finding ways to mix guitar solos with backwards playing in a rock setting would seem hard if not for the intensity and focus the duo played with. Prolific in writing and recording, their merch table was covered with albums made within the past several years"
