86'd Records is a DIY punk label/distro/website from Long Island, NY since 2010.
Rations is/was a punk band from Long Island, NY active between 2008-2013. Rations Noise is an electronic offshoot formed in the aftermath. Contact us by email at email@example.com or by mail at P.O. 501 East Setauket, NY 11733-0501 U$A.
Former FELLOW PROJECT members, Joe Jerkens, Tia Meilinger, and Ryan Blecher are back as TRIFLES with a 10 song debut LP due out on 86'd Records in 2022. Tests approved and hopefully news about shows soon. Peep the video for "Too Much To Lose."
I've updated the store with a bunch of stuff. Most notably test presses from a bunch of Traffic Violation and 86'd releases. Also found some odds and ends around to restock long sold-out titles from both labels. Browse till you drop:
The old band with a new lineup recorded four songs back in December 2018. With Social Dee living life in the Pacific Northwest and Tia spending time in myriad other endeavors, RATIONS added Ryan (FELLOW PROJECT, BEARCHILD, etc.) on drums and old pal Dave on bass to finish a set of songs Brian and Wells had been working on.
Two of those songs are available now on a couple new compilations.
"Capital," a song that had been brewing for years before finally being finished and committed to ones-and-zeros with this crop of songs. This track appears on the embarrassingly good "Dead Wax: A Rad Girlfriend Records" 2xLP compilation. Other bands featured include THE DOPAMINES, PARASITES, WONK UNIT, IRON CHIC, SLOW DEATH, STEVE ADAMYK BAND, VACATION, TODD C., AMYGDALA, CAPITALIST KIDS, and many more. Order from Rad Girlfriend Records' store page or hang tight and order from 86'd soon.
The next of the new tracks features Rob Fraser from KRUPTED PEASANT FARMERZ, ANGRY FOR LIFE, UTTER FAILURE, etc. on dueling lead guitar. Dubbed "Untitled 4" the band was lucky enough to land the track on a new compilation from the esteemed Bloated Kat Records called "Kat Music For Kat People Volume 3 - Picks of the Litter" along with luminaries like MIKEY ERG, NAVEL, NOTCHES, MIXTAPES (doing RIVETHEAD!), SKIMMER, SLOANE PETERSON, and many more. Order from Bloated Kat Records' Bandcamp page. Or again, hang tight and order from 86'd soon.
Another two recorded songs ("Love at the Heart of Empire" and "Wounds and Wails") are pending final destination.
No other real plans for RATIONS at the moment, but Wells, Dave, and Ryan have been jamming on some new songs for a different project that might get recorded at some point.
MRR and BAD TRANSFER BLOG reviews back for RATIONS NOISE and UNKNOWN RIVER DRIVER
A bunch of reviews of the RATIONS NOISE / UNKNOWN RIVER DRIVER split LP/CS have started popping up online and in print. Scroll down to peep 'em.
Still waiting on MRR and Bad Transfer (Nate Wilson, Matt Average, more). Psyched for those. Also, I've got about 10 more copies set aside to send out for reviews. Any ideas? Email me or hit me up on Twitter.
Let's fuckin' go *Infest voice*:
First up is the venerable Razorcake zine. An abridged version of CJ Miller's very humbling review appeared in both print and online. After the magazine came out she posted the full review on Instagram. Here's the full text:
“Whatever you want to read in this first sentence that will make you listen to this split - imagine you have just read it. This is an important album. No hyperbole. Complex, emotionally affecting, fiery, equally cathartic and despair resounding, politically agitating and agitated clarion.
I will preface with the fact I am a huge fan grrl of Rations and all of their previous releases. You should listen to them as well. But that has only some bearing on my feelings per this release (Unknown River Driver includes members and frequent collaborators of Rations - Brian Donnelly, Tia Meilinger, and Christopher Lamagna - and Rations Noise seems to be a new iteration of two Rations members, Beaker and Wells, delving into sonic territory different from their bands previous incarnation.) This release is incredible and stands on it's own very confident feet.
The Unknown River Driver side is powerful, grit and gravel, guitar based punk presented with profound honesty and sensitivity of expression. Painful personal content with thoughtful social and political nuance. All of the songs expand and contract, saturated with sadness and note bends. Standouts for me are two of the more catchy contributions - "Isaiah" and "Misery & Liberty". The latter begins with a captivating and dance-able drum beat/hand clap hook which acts as a lovely counterpoint to the lyrics and emotional tone of the guitars/bass. "It worsens until I don't feel." The song is a dynamic and incendiary representation of feelings I've known so well in my life - when we live so long with suffering it becomes familiar; when pain and despair dwell so comfortably in our hearts and bones and bodies our awareness of them dulls. The misery becomes so familiar we no longer notice it.
Now for the Rations Noise side. A lesson for me in so much. Firstly - to refrain from preconceptions before taking anything into myself. Based on this being a noise project centering on drone warfare I expected something far more aggressive, dissonant, sonically dense and brutally oppressive - especially considering the horrific subject matter. Instead what unfolded was a beautiful, often gentle and pensive, cinematic and sweeping piece of experimental music.
I will almost always refrain from using other bands as reference points in reviews or critiques because i think it promotes narrow mindedness and homogenization of thought/style but I want you to listen to this and sometimes drawing comparisons to other bands seems to help draw new listeners in - so if you imagine a collaboration between Explosions in the Sky and 3RA1N1AC you'll perhaps have an idea of what transpires here. The arrangements are sparse and oscillate between tones of hope and of melancholy. The piece opens with grinding metal formed into a pulsing beat and bubbling, glitching patterns of sound reminiscent of computer processing. I believe this serves to establish a sonic theme relating to drone operation and the computerized language of these war machines - the technological vector/buffer that allows for detached execution and destruction from operator to victims. Dramatic and melodic guitar swells behind these patterns, setting a surprisingly hopeful tone. A layer of two slightly robotic voices - one low, one higher pitched, evocative of traditional masc/femme vocal presentation quote Jack Gilroy's poem "Hancock Litany for Good Friday". "Men of the 174th Attack Wing: Stop the Killing. Women of the 174th Attack Wing: Stop the Killing. Men and Women of the 174th Attack Wing: Stop the Killing.” - CJ Miller, Razorcake
Next up is a review from Yellow Green Red Blog (Matt Korvette from Pissed Jeans). Here's a screengrab:
This is a heads up that I’m leaving SOLID MFG at the beginning of the year to focus on other stuff. Solid, which has already been running at the A TO Z MEDIA offices in NYC since July will continue running the company as SOLID MERCH.
SOLID MERCH will remain focused on short run vinyl products with even quicker turns and new suite of products for bands and labels. Questions for Solid-related stuff can go to firstname.lastname@example.org.
As for me, I’m not exactly sure… and it feels great.
ALBUM ARTWORK STUFF
I’ve been lending a hand to people (mostly friends) for album covers, ad layouts, social media graphics, more and more over the past year-or-so, and I’m going to make it more official in 2019.
You can check out stuff I’ve done for my own label and bands here, here, and here. Here’s a good example of an album layout (that also included posters, social graphics, etc.) that I did for a friend. I’ve also successfully (and joyfully) recreated LP layouts using only original printed CD covers for a couple of vinyl reissues on STUNTMAN and TREEPEOPLE on Gravy Lane Records.
I’m going to formalize this as a set of services in the new year. I’ll offer both à la carte and package deals. The idea with the package deals would be include layouts for posters, social graphics, etc.
In the meantime, if any of this interests you please hit me up.
I’ve been doing a lot of music stuff lately. Firstly, RATIONS NOISE has a split 12” LP/CS coming out UNKNOWN RIVER DRIVER on 1/11/19. Peep the vid.
Second, RATIONS (as in the band, not the noise) has been practicing again with altered lineup. We’ve recorded four new songs, one of which will be appearing on a 2xLP compilation to be announced in 2019. Also, the two RATIONS 7”es from 2011 and 2013 are available for the first time on Spotify, Apple Music, etc. as well as being re-licensed as CC0 for sharing and re-use. Very much looking forward to jamming, playing and recording more in 2019.
SO LONG, AND THANKS FOR ALL THE POLYVINYL CHLORIDE
Thanks to all the people who helped me make Solid MFG what it is (quick list: Andre, Karin, Shannon, Cory, David, Chris, Tasha). Big thanks to Sarah, Scott, and Rich at ATOZ for being great friends and the best in the biz.
I wrote this eulogy for FMA after the reports of its imminent demise start to come out. Thankfully (though still mysteriously) it has since been SAVED! Read on for a cool 750 words about how/why I was going to miss FMA so much.
It was with surprise and delight that I first visited Free Music Archive in 2012.
My band, Rations, had recently released a 7” EP called “How Much Land Does A Man Need?” and we offered the download on Bandcamp with a Creative Commons Noncommercial Share-alike (CC BY-NC-SA) license. Then, through some magic of the internet the songs wound up on this awesome site called Free Music Archive, packed to the gills with creative people excited about collaborating on music. I thought it was the best thing in the world.
As months ticked by, I realized that our download and stream counts at FMA were surpassing the same at Bandcamp. Rations started cooking up plans for the band’s next EP.
“Martyrs and Prisoners,” was to come out in the spring of 2013. This time we were going to license it as Attribution ShareAlike (CC BY-SA). Without question, the prior experience with the Creative Commons and FMA was the primary reason to we decided to use a more open, Free Culture license.
In fact, this is when I first wrote to FMA. I wanted to make sure the new EP would be uploaded so we could point the download cards there. I got a response from now-famous podcaster, then-FMAer, Andrea Silenzi, setting me up with “Curator” status so I could upload myself. Nice! We printed up download cards, making sure to evangelize Creative Commons and FMA in the process.
What followed was a handful of people using our songs in some really awesome videos (and some really crumby ones). And a boatload more people hearing our music.
Because the songs are issued with a Free Culture license, video creators are free to use it, even commercially, as long it’s credited. Our songs quickly wound up on a ton of free music directories and download sites, and in turn as the background music in ton of videos on vimeo, youtube, and elsewhere.
My favorites are “The Hum”, a student short film from Spain and “Fluggenock”, a short documentary about the political cartoonist that aired on Free Speech TV. Though I must admit, a since-removed low resolution compilation of a woman doing yoga set one of our songs has to rank up there as well. There were over 1 million views on the video and about 60+ comments about how awful the music was. That was pretty awesome too.
For the meta-minded, we appeared in an informational vid about Creative Commons and Public Domain. Landscape enthusiasts? Try the time lapse videos of a truck driving around Poland and Sweden. Lots of gamers like this guy used our music for their game streams. Curiously, our “peace punk” songs wound up as soundtracks for First Person Shooters. We even had some stuff show up in an informational video from a weapons accessory manufacturer. I won’t link to those though. ;-)
If other people can get this kinda mileage out of our stuff, why can’t we?
With Rations going on hiatus in 2014, I set to work on a Rations remix projects with my friend Beaker. The collection of five songs that emerged will be released January 11th, 2019 as a CD/LP/DL. In addition to studio, practice, and live recordings, “Dronestruck” uses words and images from the Public Domain to tell its story. All the original and derivative work (along with our STEM files) will be made available on the companion website at 86drec.com/rations/dronestruck.
We’re also planning to re-upload our two 7” EPs, this time both licensed for the public domain, on December 14th, 2018.
“Make sure to get in touch with FMA”
That’s what my todo list said on the day I saw the tweet about FMA closing down. I was going to write about how thankful I was for FMA getting our music to so many interesting and meaningful places. I was going to link to our newer stuff that wouldn’t have been possible without FMA. And probably most importantly, I was really looking forward to the reply that would surely have set off a whole new round of great connection and collaboration.
So thanks for everything FMA. You were the best thing in the world. I miss you already. :-(
At long last, it's the first round of Traffic Violation Records digital reissues. Available as lossless downloads with PDF files of the full artwork directly from our site or at 86drec.bandcamp.com.
This round features releases from Contra, Splurge,The Insurgent, and Sometimes Walking, Sometimes Running, plus a 7" compilation from 1999 featuring Jan Cux, On The Might Of Princes, Porcelain Decay, The Insurgent, and Mad Cow Dizeaze 182.
I've also scanned and snapped pics of some old Long Island punk/hardcore and Traffic Violation Records stuff that I'll be posting to the #tvrchives at instagram.com/86drec. So stay up to date on stuff there, eh?
86'd Records is overjoyed to finally announce the upcoming RATIONS NOISE / UNKNOWN RIVER DRIVER split 12" LP. Test presses are approved, artwork is finished, and we're now looking for a handful of like-minded record labels to help us release it around the world.
We made a minute-long video about the record that you can watch at NoEcho.net.
As in the past we're aiming for a multi-label split release w/ labels from different parts of the world chipping in to handle decentralized distribution. Our goal is to get small quantities of the record to a handful of local scenes and to encourage hand-to-hand purchases and trades among DIY labels and distros. As usual, our hope is to use this occasion as an opportunity to strengthen our relationships with the international DIY punk conspiracy and to help further connect the network of ideas, music, and trade that happens outside the mainstream.
On board so far is Farsot Records in Sweden and Tor Johnson Records in Providence, RI. We're planning on pressing around 300 records with label shares being around 20-30 units each.