Loveless .1.

Loveless .1. was another Chris Gray band, but this one is surely the most obscure of them all. From what I know they were around somewhere between about 2001 to 2002, even that’s stretching the limits, because they were only around for a year and a half. This should almost be a Chris Gray post, but I’m missing so many of his demos that it wouldn’t be near complete.

The story goes that Chris Gray was recording solo, and recorded a nine song demo tape on an 8-track, two of which were supposed to be released on an ep on Re-Define (the same label that was supposed to release the Montgomery 21 discography). He then decided to expand the band to a full line-up, recruiting the keyboardist and drummer of his current band, Zyon, and  the two guitarists from Ellington (one taking bass position), Chris Gray thus becomes Loveless .1. some line-up changes occurred here.

The band may have played shows, but they did record a 5 song demo, which was due to be released as an EP once again by Re-Define Records, as the North American distributor, and Winter Recordings (the European label that released the Zyon album, to handle the Euro release). How’ever the band broke up, for reasons I am unaware of, and Chris Gray went on to do a solo tour, at which a live EP was recorded and finally, actually, released by Re-Define. Some of the members went on to be in The Black Maria with Chris Gray.

Loveless .1. Discography

PS, This is not one of the best posts on the blog, due to serious lack of information on the band. But I really wanted to share this demo with everyone, since it’s pretty rare and amazing. If anyone has additional information, please do comment here!

Drop Forge

This bio was sent to me exclusively for this blog by band founder Paul Schedlich. I doubt I could have written a better one on this fantastic midwest emo band from Pickering, Ontario. I don’t find many Canadian bands with this specific midwest sound (Shoulder did it quite well), but I would love some suggestions of more bands from here in these veins.

“Right after we got home from that ill-fated 2 Line Filler tour in June of 1994 it was obvious that this incarnation of Two Line Filler was finished. We were getting offers to do other tours and shows and eventually were offered a deal with New Red Archives but Matt and Kevin HATED each other. I had always been the diplomatic middle in that band but I was more willing to side with Kevin. Matt was just too unpredictable. Kevin and I had talked about starting something new when we were on the road, something not so poppy. I had been writing some stuff on guitar over the past few months and I wanted to try playing guitar in a band.

A few weeks after tour we all started talking again and we eventually jammed. Wasn’t sure if Al Shaw wanted to be on board or not after that tour but he came around and him and I started writing guitar parts. Rasool was an old friend who had played in a band called Just Another and had played with Kevin and Matt before. Ras and Kevin had a really interesting rhythmic dynamic. The songs we were writing got slower and we started playing with volume and dynamics, Song writing seemed a little labored yet it was democratic. It could be frustrating. I always felt like I was playing catch up to the other guys in terms of my playing ability.

I think we played our first shows in September of 1994. We probably only played 20 shows at the most, mostly within the Southern Ontario, Toronto, Ottawa corridor. We recorded a demo with Simon Head in November 1994. He had a mobile recording set up and he was a friend we knew from the Pickering area. I think we were one of the first bands he recorded with his set up.

We started writing better material after that demo but things were starting to get strained between us, especially Al and I. In retrospect, it was really stupid; I can’t remember the exact reasons. I’d bet that I was largely at fault though. One issue was that we wanted to do a tour in 1995 and said he wouldn’t be able to get the time off of his job unless the tour was “good”, which is a totally reasonable stance today but at the time felt really divisive and defeating. He’s a great musician but hated practicing. Again, I felt like I was always playing catch up and it turned into this passive-aggressive snowball of a problem. Eventually, he was out of the band. We tried playing with another guitar player named Jeremy Madsen, who played with Al and Kevin in the Eight Pound Test, and eventually played with Hacksaw and the Deadly Snakes. We wrote some interesting stuff but it just wasn’t the same. Kevin and Al had and still have this unspoken musical connection, Kevin was first to point out that it just wasn’t working and we stopped playing together.”

Drop Forge Discography

Seer

Marc Stonestreet, Tyler Smith and Stephen McIntyre had all been friends since elementary school. In 1994 while they were in ninth grade, they got together with their first instruments and started learning how to play. Marc actually got lessons from Stephen’s brother, Jim who played in Blake. It took them a long time to write the material for what would be known as Seer. On December 2nd 1994 they played their first show with Blake and Mr. Penny. The name “Seer”, was chosen last minute before a show. Stephen suggested the idea of the word, “being one who sees”, “a mystic”, and they all liked it.

After a few more shows, Evan Clarke (also from Blake) was putting together the compilation “Regional Ornament” and asked them to record a few songs. In the fall of 1995, they went to Rumenal Studios and blasted out two songs for the compilation that was released in 1996. Mike Perow would also record the band again in 1996 for their planned 7″ EP on Redemption Records, a label operated by Jim McIntyre. The release never materialized because they broke up before artwork was even made. All around this time, in late 1996, Dave Buschmeyer was putting together the massive compilation “Benefit for the Buffalo Animal Defence League”, for which the band submitted their song “New Song”. The compilation also never came out, to a great disappointment. They played their final show with Montgomery 21, at which they even suggested they should do a split together. But when the members came outside in the cold winter after the show, they all looked at each other and agreed it was over. No bad reasons, no bad blood, just a simple, easy ending.

Stephen and Marc continued jamming together since then, and even recorded some demos in 2007, which easily fit with the rest of the Seer material. The first song, “Smoking Room-B” was recorded on a 4-track. It was later re-recorded, but not kept, during the second recording session, this time digitally, at which the songs “Cracks” and “3rd Fret Capo” were also recorded. Stephen and Tyler never played in any other bands, but Marc has since collaborated with Blake musicians and continues to compose great music.

Seer discography

Two Line Filler

Two Line Filler was one of the best appreciated and most successful emo bands to come out of Canada in the 90s. And everything they did was amazing! Every release was a masterpiece. I wouldn’t say this band was underrated, because they got a load of attention back then, but they surely are forgotten, and that shouldn’t be.

Two Line Filler formed in the summer of 1991 from two members of the band Just Another (Matt White and Kevin Mellors) who wanted to do something a little more Fugazi/7 Seconds type hardcore. They recruited Paul Schedlich on bass, and he came up with the name of the band, though the reference is forgotten. The bands first recorded material, early versions of songs taped in their basement jam space, has since been lost. But in August and September of 1992 they would record the instrumental material of what would become their first EP “Reinforced Arms for Better Life”. Matt went in studio alone with Simon Head to record the lyrics, which dealt with his straight-edge views. The rest of the band hated it, and it marked the beginning of inner tensions between Matt White and whomever else was on the other side. The 7″ was released on Me First Records which was a Grrrl Edge label based out of Etobicoke, no doubt a perfect label for the subject of the release. One of these songs, “Need to Help” was used on the Input Rage Records compilation “Stereophonicus Disruptus”, also in 1992. By the end of the year, Allan Shaw was asked to join the band as second guitarist. In January 1993 they once again met up with Simon Head and Pete Hudson to record their first demo tape, this time at Friendly Pirate Studio (now called Hallamusic). “Trash” was where the band started to really stand out as a serious emo band. The music was typical hardcore punk of the early 90s, but Matt Whites amazing voice would bring it to the forefront. And with this demo, they started to gather contacts and play serious shows. The demo was sent to quite a few record labels including New Red Archive, Break Even Point and Conquer the World. Though New Red Archive was interested, the band signed with Break Even Point due to their great roster of bands and bigger distribution. New Red Archive did however acquire about using certain songs from the demo for an upcoming compilations entitled “Hardcore Breakout USA Vol. 2″, which took two years to finally get released.

In December of that year the foursome worked with producer, Scott Campbell, on what would become their first album “So Far Lost”. Even though the band felt the production was too buried for their liking, they accepted it anyway. The record wouldn’t be out until the end of the summer, so they booked their own tour to get a buzz going. They contacted “Book Your Own Fucking Life” and they set up a tour in the US and Canada that begun on May 16th and would last until mid June when their van broke down in Nebraska. The rest of the west coast shows were canceled as well as a couple east coast dates on their way back. To add to the financial difficulty of making it back home, as some of the promoters ripped them off, Matt’s character was alienating the rest of the band. Not very long after coming back, Paul, Al and Kevin would quit the band and create Drop Forge. Matt White was left alone, but would refuse to let the band die. Having been asked for a release by a close friend, Dave Partridge, who was starting up Last But Not Least Records, he took two songs from the “Trash demo” (“It’s Time” and “Leave”) and let him use it. With very little motivation for artwork or band information, he let Simon Harvey handle everything. The other side featured Fadeaway, which was very straight-edge and serious, as opposed to what Dave made of the 2LF side of the split. In created a true split, where neither band was connected. Matt White then joined Chokehold for a single tour.

By the spring of 1995 New Red Archives was asking 2LF for a full length album. Matt White locked himself in his bedroom in early May and wrote the entire record in a week. He went in studio with Simon Head who also played drum and bass on the record, and was welcomed by Al Nolan to do some vocals on the record. The recording session was quite tedious once again, and Simon Head’s love of the bands music was the reason for his toughing it out. In fact you can hear him yelling “Stop, Stop Stop”, and in the following bit. Matt white was always one to create his own timing in his songs and with an amazing playable technique. Nick from New Red Archive paid for Matt to go to L.A. and remix the entire album in three days with Steve Kravac, even though Simon Head had done a great job to begin with. Unfortunately the original mix of the album has since been lost. “Listener” remains today a huge classic, and to me a perfect album. It was also the only time the band was credited as “Two Line Filler” as opposed to “2 Line Filler”. Simon and Matt also collaborated on a two song recording session later that year which would produce the great classic tracks “I’m Just Fine” and “Openly”, the first of which was used on the Second Nature Recordings compilation “A Document of Nothing” and the second would go unreleased until New Red Archive’s 2005 compilation “Hardcore Breakout USA Vol. 3″.

For the 1995 and 1996 tour Matt first recruited Pat Dupuis on guitar, by recommendation of Al Nolan and Mark Holman. Pat audition at Matt’s house and though he came from a heavier musical background, he was invited to join the band. Pat then asked his friends Johnny Drew to come play drums and Mike Calder on bass. However after the first two Ohio dates with Pennywise, Pat left the band. But they quickly found Al Biddle and Colin Clarke to come in for a three weeks east coast/midwest tour with Enkidel. This line up recorded their side of the split with Pezz in 1996 as “Bittersweet Vol. 3″ in Memphis, with producer Peter Hudson once again. The split was released by Bittersweet Records but after the first pressing, which was split in half for both bands, the label folded with no copies left. There are very little copies of this split and I believe it is the rarest release of the band. Vinny from Bettersweet Records would land the band a show at CBGB’s where they would be approached by Dave Prior of the major record label Arista Records. A meeting was set up in a NYC hotel room, where Matt and the band discussed the possibility of releasing an album on the label. Matt would take the opportunity to run his mouth the entire meeting long, ruining all chances of a major label signing. Mike Calder, Al Biddle and Colin Clarke would form Dead Season that following weekend.

Matt would continue to write some material as 2 Line Filler here and there on the side, but his reputation as a hard to deal with character left him with little band support. In 1997 Mayfly Distribution was putting together a compilation entitled “A Benefit Compilation Brought to You by Mayfly”, on which the song “Sorry” from the “Trash” demo was used. In 1998, New Red Archives used “Home” from “Listener” on their compilation “At War With Society”. In 2000, he collaborated with Nick Pye and Dan Burke on two final songs, which never got released. Finally, New Red Archives released the second song from the post-”Listener” two song recording session, “Openly” on the third and final “Hardcore Breakout USA Vol. 3″ in 2002.

Two Line Filler Discography

New Day Rising

New Day Rising was huge. And I think that there are still a bunch of people getting into them these days. Even if nothing has actually been going on with the band, a bunch of blogs have been talking about them Eulogy still sells their releases.

New Day Rising formed in August 1994 with members that somewhat all knew each other. Dave Buschmeyer had been in Face Down with Tim Delowska, and met Oliver Nacinovic from school and Jamie Webster from around Mississauga. Chris Gray was recruited because of his skills shown off in Solace. This five piece recorded a five song demo in February 1995 at Mainway Studios. Jamie was then replaced by Jo-Anne Sanders and Tim by Mike Charette (who had played in Unheard with Dave) but would go on to be replaced about six months later in autumn 1995 by Adam Brylowski, who had also been in Solace. Moo Cow Records got a hold of their demo and contacted the band to do a split 7″ with Atlas Shrugged (after Lash Out backed out of the b-side, and left room for NDR).

New Day Rising were then approached by a couple of local record labels to each release eps. Upheaval Records was the only one of both to fully go through with the deal, so he took over the other labels ep and released a double 7″ ep. Over 2000 copies were made (and some are still available from Dan). Moo Cow once again contacted them to do a split 7″ with Despair (after Crud is a Cult bailed out). This split was released at the Cleavland Hardcore Festival in March 1996, at which the band played at, and sold the records until the notorious riot broke out. Both of the Moo Cow split 7″s were compiled into a limited (200) tour ep when New Day Rising went on tour that year. A few member changes occurred as Jo-Anne Sanders left officially to do a more melodic project with most current guys of NDR called Montgomery 21. Trevor Dykstra became permanent bassist, but couldn’t go on the first half of the tour because of family vacations. Joe Orlando from Hourglass filled in for him, until Trev would join up halfway through the tour in South Carolina. Their tour took them south-west to Minneapolis, then down the the southern states, and east to Virginia Beach, before coming back up with an east coast tour with a broken van.

Upon returning from tour they got working on new material.  Another proposition with Moo Cow was proposed as a split with Hourglass and to be co-released with Gorilla Warfare Records. Well the second label backed out right before payments were due, and Moo Cow was left to pay for it on their own. To delay the process further, New Day Rising would break up in autumn 1996 however still obligated to send in artwork for the release. After all these delays, the CD version came out in late 1996, and the LP version was delayed to 1997.

Sometime in 1997 a certain record label (if you recall who it was, please let me know!) was supposed to press a live LP of one of the band’s 1996 show from after they had gotten back from tour. The cash down was made and the vinyls were pressed, but for whatever reason the label just didn’t follow through with the rest of the payment and the records were sitting there waiting to be picked up. This was possibly caused by the break up of the band and the label feeling like they would lose money due to a lack of promotion from the band. Dave told the story to Jim at Moo Cow and he figured this would be his way of returning the favour for having bailed him out of the two split 7″s back in the day. So Moo Cow payed the left over and got some blank black sleeves and pasted some live pictures on them and that was it.

In 1997 the band reformed with Chris Gray still on vocals, Adam still on guitar and Ollie still on drums. However Dave and Trev were doing Karenza by then (which was soon to evolve into Spread the Disease) and Acrid. Andrew Ledger was the second guitarist and Mike Jones came in on bass. The new members were then composing more atmospheric influenced music and Chris Gray’s obsession with brit-pop was showing through more and more, eventually exploding into The China White, and would be the leading factor in Andrew’s departure. Dave would come back in and by the time about 80% of the album had been composed and partly recorded, Mike Jones would leave the band. Trev would come back to record the remaining two songs. During a Morning Again concert in Ontario, Dave and John Wylie discussed releasing material on his new record label, Eulogy Recordings. Their only full length “Memoirs of Cynicism” was released in late 1997.

The band continued to play shows but did not tour. Eulogy wanted to make the earlier material more accessible, so they put together everything released by the band (excluding the full length, the live LP and the song from the Atlas Shrugged split, T.V. Diners, as the DAT tape was lost for it). The whole works was released as “We Cannot Tell You How Much Blood It Costs” in 1998. They would break up for a second and final time in fall 1998.

New Day Rising Discography

Eliot Rosewater

Eliot Rosewater was a short lived band from Mississauga that was only around from December 1995 to October 1997, though they managed to record a great deal of material, and apparently had written over 50 songs. It featured Ian McPhedran on bass and vocals, Dan Zabawa on guitar and vocals and Ryan Kennedy on drums. In early ’96 the band recorded their first album at Rumenal Studios. This was released on tape (and is pretty much lost, that’s why it’s not included in the discography zip. but if you have it, send it to me!!!). There were about 100 copies of the first album/demo that were made and three cover versions of the photocopied insert existed. One had a picture of a pulsar, another had an abstract photograph of Dan’s girlfriend at the
time, and a later one had an anime character that Dan drew.

For their first compilation appearance on “Regional Ornament” representing bands from Southern Ontario, they recored their songs with two mics and a four track recorder in Ryan’s basement. They had Steve Werben master the songs, and often argued with him to leave the hissing in, and make it purposely badly recorded.

In March 1997 they would record their second demo/album, once again in Ryan’s basement (their jam space) in the same manner as the tracks from the Regional Ornament compilation tracks. Ian elaborated quite well on this demo, so I wouldn’t want to misquote him.

“It was recorded in March 1997 in Ryan’s basement on to his dad’s 4-track. We set up three or four microphones and  recorded in a similar fashion to the regional ornament comp. We recorded the first tape at Rumenal and probably didn’t have enough money to do that again since none of us had jobs. Dan did a few overdubs, but it is pretty much all done “live”. Dan also mixed and mastered the tape. Using two “master” tapes (the first two copies from the final mastered version), we dubbed them as we ran out/needed them for shows. To package them and save costs, we bought blank cassettes in bulk and small manila envelopes and decorated them ourselves. Dan made an insert which we photocopied as needed. Like the first tape, we did not make labels, opting instead to use a knife to
carve in the tape side number, our name, and often some nonsensical message (i.e. let your children run wild and free). Mine usually had a red flag, our name, and the words “élan vital” or “cultural revolution” written on them. I have no idea how many were made–probably 100. I had my copy of the “master” for a long time, but lent it to Aidan Koper (now of the band Germans) and Steve Kado (one of the founding members of Blocks recording club) because they wanted to do a cover of “green christmas” for a band they were in. They never returned it and it is probably long since lost.”

In mid 1997, the band did their third demo which was partly recorded at Rumenal Studios partly at Al P’s new studio. The initial copies of the third demo was ten songs, spread over two sides of the tape. Not many versions of this exist. After the band broke up, Ryan took the remaining copies of the tapes and erased the second side to replace it with his new band’s material (Tet Offensive). These are the copies most widely available. What came out of the talk was their appearance on The 49th Parallel compilation, with two songs from the mentioned split. At this time they were in talk with Vince of Lake Erie Records to propose releasing more material on his label. The only thing that did happen from this however was their appearance on The 49th Parallel compilation.

The band ended up breaking up in late October, and was barely included on the Better Luck Next Time compilation. Dan, who took care of it, apparently took his time to send them the DAT and didn’t bother to send any artwork. Witching Hour was obviously pissed, and you can tell in the way the booklet looks when you get to “e. rosewater”, page, with a whole through the “e”, making many many, many people mislabel this band as “c. rosewater”.

They reformed for a one off show in May or June 1999 (confirmation would be appreciated). They played in Ryan’s basement with Tet Offensive, to about 30 fans.

Eliot Rosewater Discography (minus the first demo and the second half of the last, get in touch if you have info on them)

teve
Werben

Ache Hour Credo

Ache Hour Credo is what came between M Blanket and Breakwater (for Dave Wenger at least). It was fairly short lived, of about 1994 to 1996. They recorded an eleven song demo that wasn’t very circulated and only two songs were officially released (both on compilations). Of course this is still remembered as another Dave Wenger ban, and just by reputation you know what you can expect. This really should have come out on Slow to Burn Records or Fans of Bad Productions but due to inner tension within the band, it never happened. “Letterbomb Valentine” was actually released on the Slow to Burn’s compilation “Group Therapy Explosion”, and Fans of Bad Productions used a song, “Give Fascism a Chance” on “Fuck the Commonwealth”. This band was really fantastic and I can understand why it’s influenced so many people. I unfortunately don’t really know much else of the band and i wish i did. Dave Wenger then had a brief stint with Breakwater, before starting up Daddy’s Hands with his girlfriend Emily, who also did vocals on this demo.

Ache Hour Credo Discography

Shoulder

This was originally the very first post. It has since been edited, ameliorated and reposted, with much more material in the download link (thanks to Ryan Moon and Doug MacGregor for all the help). So I am proud to present one of my absolute favorite bands, and all time favorite emo band, Shoulder. This band was from London, Ontario from 1994 to 1997. Bryan Webb (guitar, vocals), Chris Irwin (bass) and Doug MacGregor (drums) started jamming together in the fall of 1994, highly influenced by bands such as Fugazi, Hoover and Jawbox. During late 1994, Bry joined As We Speak to replace their original guitarist that had left the band. Shoulder’s sound then changed to a more mid-western emo sound, influenced by such bands as Split Lip, Endpoint, Falling Forward and Shotmaker. In March 1995 they recorded their first demo at Studio 107 in London. These four songs were released on cassette tape. When rehearsing, the band often recorded various songs in their jam space (Bry’s basement) on a four-track recorder.

Not very long after the demo’s release, Paul Bright, from As We Speak (which had recently broken up) joined Shoulder as guitarist. The band played some more shows in their local area and the rest of Ontario. In October ’95, they recorded their first and only full-length, “Touch”, once again at Studio 107. The acoustic instrumentals between the songs were recorded by Chris Greenwood, and featured Vanessa Thatcher on violin. The LP/CD was released on Detroit’s best known label, Conquer the World Records, co-released by the band on Winter Records, a label operated by Paul Bright, in December of 1995. The band then started touring, entering the states, for a one week tour in the winter of ’95-’96, which took them in a loop around Lake Erie and back home. During these shows, the band would play covers of The Cult’s “She Sells Sanctuary”, Rites of Spring’s “Hain’s Point” and “End on End” and a Dag Nasty song.

In 1996, they went back in studio for the third and final time and recorded five songs. The first two of these songs were released on the”Kindling” 7″ which was released by the same labels (Winter Records had by then changed name to Rhythm of Sickness). The third song was meant to be on a compilation for Rhythm of Sickness Records, “The Cold Front” which never happened. The fourth and fifth songs would be used on the Goodfellow Records compilation “The Difference Between Us”, and on the split with Morning Again on Moo Cow Records, both in 1997. At this time the band embarked on a two week tour with Holocron and played all the way down to Florida, and did a Quebec tour on their way back. It was during this time that the band played with the greatest hardcore band ever (my opinion), Morning Again. They discussed doing a split, and upon return hooked up with Moo Cow Records to release the split on 7″. To this day it’s still one of the hardest to find, because people simply wont part with it.

Other than the Rhythm of Sickness compilation, the band had quite a few plans that fell through… Struggle Records was due to put out one of the most anticipated compilations entitled “Benefit for the Buffalo Animal Defense League”. Mike Warden of Conquer the World also talked about re-issuing the Kindling 7″ on CD compiling it with the rest of the songs from the session, and possibly other songs that were never recorded. They were also due to release a split with Chokehold on Rhythm of Sickness, but it ended up being with Left For Dead in the end.

Through out 1997 they continued to write material and play festivals, and were talking about recording another full-length, including the newly written songs “EastEnd” and “Owned and Operated”. They never got to record any of the new material in studio however, and played their final show on October 10th 1997 at Call the Office in their home town (it was their 65th show) with Holocron (the band they played with the most), Acceptance and Slipshod.

In 1999 one of their home basement recordings from 1994, “The Woods”, was included as a hidden and unlisted bonus track on “The Emo Diaries Chapter 3: The Moment of Truth” released by Deep Elm (and from what I was told, without the band’s approval). During this year most of the final line-up (Bryan, Paul, Doug and newly recruited bassist Dallas Wehrle) started jamming again under the name Constantines, but Paul Bright was soon asked to leave to be replaced by Steve Lambke and the band would rise to fame. The only surfacing of Shoulder since has been the inclusion of “Second Hand” taken from their full-length on the digital compilation put out by CTW “15 Years”, to represent the ending of the label in 2006, and once more without band acknowledgement.

Shoulder Complete Discography (with full band permission)

Three Fine Days

This Halifax band was formed in October of 2000. They released a 3 song demo and a 4 song CD-ep in their short career, before disbanding in March of 2002. Drawing influence from bands such as Grade and Boysetsfire (and also covering both those bands), they created their own version of melodic hardcore. The band was comprised of Matt Hemeon and Wayne Rowcliffe of hardcore punk band Falling Short, PEI transplant Ryan Greeley, Mark Bachinski and singer Oke (who would eventually put his anger issues to better use in band Bus Pass). They only played a handful of shows in Halifax and in Charlottetown, PEI but made a name for themselves in the area. They received some national exposure when they appeared on the True Until Death 2 Compilation on United Edge Records. Eventually Oke quit the band suddenly and there were some lineup changes in an attempt to keep the band going, but the band soon after fizzled out. Members went on to bands such as Flesh Made To Suffer, Envision, Bus Pass, She Kills, and The Full Blast.

Check out the demo and CD-ep here:
Three Fine Days
and a random interview i found online:
HERE

Shiner

Shiner was the first band to be released on the greatly important B.C. label Slow to Burn Records. Dave Brown who ran the label played in the band. This was B.C. emo in the early 90s and it was damn good. A lot more like the mid-west emo that would become huge a year or two later. Their 7″ “Slightly Polished” sold out quite fast, and it was repressed on cassette tape. To be honest, I don’t know anything else about the band but what I could find online. If anyone knows of any other material recorded they had or other releases, I would be thrilled to hear them!

Shiner – Slightly Polished