This vinyl 7" split is the fourteenth release in the LAMC Series via famous class. Feautring the latest single from Speedy Ortiz, 'Doomsday', which sees frontwoman Sadie Dupuis's usual brillinatly unsettling lyrics atop of the band's rhythmic and distorted guitar sounds.
The tracks will also be available on the Famous Class bandcamp page with 100% of the digital proceeds going to the Ariel Panero Memorial Fund at VH1 Save the Music. They're expected to be snapped up pretty fast, so grab yours while you can..
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- LAMC No. 14 by Speedy Ortiz / Chris Weisman
8/10 Robin Staff review, 23 October 2014
Indie rock is unyielding and it will never die. That seems to be the mission statement of Famous Class at the moment, who are throwing out 7" splits left, right and centre in tribute to the late and definitely great Ariel Panero. The guitars seem to be the focus, whether they oscillate, groan or get drowned out in a wave of feedback; Parquet Courts, Fuzz and White Fence are all out and about, although perhaps the most exciting prospect of the bunch is this meet 'n' greet between Speedy Ortiz and Chris Weisman, two artists with diametrically opposing motivations -- to destroy everything with a riff or build it up from rubble, all with a couple chords.
Speedy Ortiz stellar debut record, 'Major Arcana', mixed aggressive guitars that pushed you in the playground with drab riffs that sounded dejected and hurt -- the constant switch between Sadie Dupuis' writing personalities was just the same, lines ranging from "I wanna be with somebody just like me / someone who laughs at a crash car rental" to "I was better off just being dead" in the space of a few minutes. On their new single, the band labour over melancholy, with a slow jam reminiscent of Pavement on 'Brighten The Corners' -- no energy left in the tank, but the ability to write a good chord sequence and a swirling riff learned by rote. It's a brilliantly sad stoner jam that shows punk rock not be full force -- sometimes it gets kicked in.
The b-side sees Chris Weisman in delightfully traditional form, with bass notes that lean over simple, spry chords and a vocal that recalls Jose Gonzalez with a little less trouble on his mind. Weisman is the kind of songwriter who's become unstuck in time, making psych folk that belongs to another, seemingly easier generation. There's not much substance to it, but there's a lot of beauty -- it's over before you've worked out what makes it so good, so you play it again.
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