A Christmas EP as only Wenis can do. Contains both holiday favorites and Wenis originals.

The Wipe Album is Wenis’s third studio album. It is the most ambitious album of the band’s illustrious career to date. Packed with humor, heartache, and twenty-something angst, The Wipe Album is twenty hilarious songs of pop fun.

Hemo, the fourth studio album by Wenis is, by far, the most mature album in terms of quality and songwriting. Fear and loss are the themes on the majority of the tracks. Every song on Hemo is serious; no intentional laughs to be found here. In fact, most of the songs are quite sad and depressing.

This is Wenis’s emo album.

All songs by Wenis except track 5, “Blue, Red, & Grey,” by P. Townshend.

Formed at Pennsbury High School in the early 1990s, Corncerned were a straight edge hard core band that eventually morphed into the Krishna-conseous Prema. Prema recorded a couple albums for Equal Vision Records: Pebble in 1994 and Drivel in 1996.

Though accounts of the band often speak of them as being so young their parents had to drive them to shows, they were actually in their late teens during the majority of their playing-out years.

The band dealt with some pretty heavy topics lyrically, courtesy of vocalist Mikey (even the common reference to him as Mikey seemed to echo this applied extreme youthfulness) including religion, spirituality, betrayal, nostalgia, and sobriety. Common fare in the straight edge community of their elders (bands like Ressurection, Shelter, 108, Lifetime, Flagman, and Mouthpiece) but far from commonplace for high school band’s more likely to sing of fantasy girls and speculative fast-living.

Ok, so they were pretty young. Especially in the beginning. At first, they had to be 14 years old. Original guitarist Dan may have tacked a year on his life making the most senior member at 15 or so. But they were all young.

I video taped and photographed a few Concerned shows. The videos that have survived have been dubbed “Molly’s First Party,” “Molly’s Second Party,” and “Suburban Garage Party.”

“Molly’s First Party” and “Molly’s Second Party” were neither Molly’s actual first and second party even nor the only parties Molly hosted, but these were the two I videotaped Concerned playing. I’m not really sure I am the one holding the camera. “First Party” was just Concerned playing, “Second Party” had Frame opening. The line-up for both of these videos is Mikey, Doug, Terrence, and Anand.

The “Suburban Garage Party” was recently remembered/realized to be at Emma’s house (we think). But we don’t remember Emma’s last name or anything about her for a while. Do you know Emma? She was, and I’m sure still is, super cool. Please let her know about these videos. Love to say “hi.” Anyway, I think this party might have been New Year’s Eve. Same as the above line-up but with Colin R. on second guitar.

I am not really crazy about these transfers these days. I’d like to re-edit the videos.

Molly’s First Party

Recorded sometime in 1991 or 1992 in Morrisville, Pennsylvania.

1. The Truth
2. Destiny
3. In the End
4. Known
5. Differences
6. What Goes Around
7. Shattered
8. Deceived
9. Freewill (Shelter cover)
10. Smells Like Teen Spirit (Nirvana cover)
11. No More (Youth of Today cover)

Emma’s Garage Party

1. Part One “What Goes Around”
2. Part Two
3. Part Three “The Truth”
4. Part Four
5. Part Five
6. Part Six “No Spiritual Surrender” (Inside Out cover)

Concerned at Molly’s Second Party

Coming soon… still, i swear.

The follow up to Read, Gren(e) is Danger Vacuum’s part two to Read’s part one. Crac(kle) fits somewhere in there too. With Gren(e) we find Danger Vacuum continuing to play with a variety of poorly-wired accoutrements. Slightly more melodic perhaps in parts, Gren(e) also makes use of more poorly-wired electronic devises including the Cracklebox (the primary feature of Crac(kle), the Stylophone, pedals, and no-input cyclings of hum.

Recorded at An Offsite Basement, Toledo, Ohio in late winter and early spring 2009 and an Un-named Studio Room, Philadelphia, PA in late summer and early autumn 2009.

How does one begin to explain Wayne? That is a difficult question. He certainly is an outsider artist in the purist sense of the word. This is not a joke, most assuredly. ¡At Last! is, as far as we know, Wayne’s only official release. It is, of course, self released. We have no idea how many he made, but Cornslaw Industries recently acquired (through a generous gift from Mitch Jones and Fawley Music Company in Morgantown) 29 unopened copies of ¡At Last! and we are making them available to you for purchase. All proceeds will be given to charity.

The CD includes a Wayne “zine” (including scans of photos, flyers, and sheet music, and an original essay on Wayne written by Colin). There is also a link to some live Wayne and radio interview.

First off, we are not sure of the current whereabouts of Wayne. We are not sure if he is still bound to his terrestrial body, has returned to his home planet, or if he is (once again) hitchhiking across America. Wayne may or may not have appeared in 1977′s The Grateful Dead Movie. Irwin Chusid’s Songs in the Key of Z: The Curious Universe of Outsider Music does include a little information about Wayne, but even Mr. Chusid seemed at a lost when attempted to explain Wayne; opting to reprint the liner notes from ¡At Last¡ in the appendix of the book.

Wayne lived in Morgantown, West Virginia in the 1990s. Prior to that, by Wayne’s accounts, he lived just about everywhere (and nowhere). He was a self-described hitch-hiking hobo. Wayne walked with a limp, wore a beret, and showed up at a number of open mics and proper band performances to play along on one of his signature instruments: a pill bottle.

There are some truly beautiful songs included on ¡At Last¡. So, for nostalgic purposes (’cause you lived in Morgnatown and remember Wayne), for listening enjoyment (really only if you are fan of this kind of “outsider music” stuff), for shear curiosity, or to help a good cause, buy Wayne’s ¡At Last!.

And, Wayne, if you are out there, please get in touch.

Moving-waiting room is the Neyfab’s first solo album. Entirely written and realized by the Italian, in which he records synthesizers, guitars and drum digital sample. An album of eleven songs from the long-term but not too much. A sort of concept album regarding the textual part, which pours out of this feeling of loss and the inability to grasp it and hold it for himself. Moving-waiting room, a room in which it expects to avoid being sucked into the vortex of daily life, in which it remains in a constant motion from which we can not escape except through the reflection about the time of life. English songs sung with an European accent, where you mix love and reflections on life issues with a view strongly influenced by visions of the East. Made mostly travelling on the train, designed to be listened on headphones observing outer space and move around. From one waiting-room, in movement. Moving-waiting room.

Neyfab (Fabio Tassi) was born physically and musically in the melancholy outskirts of Genoa. Part of that feeling’s in his production, which will be developed by seeking vocal harmonies and instrumental experimentation. Multi-instrumentalist and singer, writes and records his own pieces, taking care also of the mixing stage, the party considers essential to the sound output end he desired. In 2008 he moved to the English capital and from there begin to imagine what will be his first job. Released an EP “Travel Around the Pleiades” that will only preview of what will become the final album, “Moving-Waiting Room.” Songs from the guitar first, then glued on electronic bases and instrumental music performed as though they were its own. Melancholy of this music thrown in, moments of life channeled into finding a personal sound space.

The person behind XMas Eve XXXIX asked Cornslaw, “hey would you be interested in mastering this ep or helping me master it? just some minor stuff so everything is the same volume and stuff. Sure. What would that entail? Getting together or virtually? virtually. record is pretty much done. but id love your ears to check it and make any minor adjustments if you think necessary. Sounds good.”

We though it was fine as is.

The name of the artist is Xmas Eve XXXIX, the name of the album is Xmas Eve XXXIX, and all tracks are called Xmas Eve XXXIX. Xmas Eve XXXIX is the solo project of Xmas Eve XXXIX.

2 Doc 2 Qua is by D’qua, the collaboration between Doc Mailman and Qua Judge. It’s seems to indicate that D’Aqua has a more sinister side than previously imagined… track 5 should be a little quieter…

This conversation never occurred:

Marcus: Hey Colin, I’ve got a riddle for you. What kind of bird always says the name of our next band?
Colin: Oh, I guess… A… turn?
Marcus: (Trying not to laugh)
Colin: An Artic Turn?
Marcus: And what sound does an artic turn make?
Colin: … BACKSTREET BOYS?!

We originally thought of this idea in 2008. We got a few submissions (great submissions!) early on, then it sat on a shelf while we waited for all the folks who showed interest (a couple dozen) and promised material (we are guilty of this too)… then life got in the way. As we said then, we still say now: “WEIRD AL RUINED MY LIFE is a loving tribute to a man you made pop fun and succeeding is getting the wrong lyrics stuck with those songs in your head.

The various artists are:

• Existential Hero
• James Eric
• A Candlelight Vigil
• Tyler Kinney
• Rusty Anderson (unsure of web presence)
• Patrick Ripoll