Super Secret Records SXSW 2019 Showcase

It’s almost that magical time of the year where traffic in Austin grows infinitely worse than it already is and there’s almost a shortage on good breakfast tacos across the city. That’s right – SXSW is nearly here! We’re thrilled to announce our annual SXSW showcase at Beerland.

For the first time ever, we’ll be hosting our usual unofficial showcase in the afternoon (badges/wristbands not required), but our evening lineup will be an OFFICIAL showcase (badges/wristbands will receive priority entry, non-holders can pay $5 to get in as long as there’s available space). Our showcase will be 18+ all day. Check it out below:
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Super Secret Records SXSW 2019 Showcase

No Echo Reviews New Skeleton EP ‘Pyramid of Skull’

Skeleton, Pyramid of Skull (Super Secret Records, 2018)

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As recently as last year, Austin was still an untapped resource for me. Long heralded as the music city for normal folk, it wasn’t until Noble Brown of the crucial Save It for the Breakdown podcast and Black Mercy fame tipped me to the punk and hardcore scene that has long flourished behind the veil.

Members from celebrated Austin crushers including Nosferatu, Recide, Plax, The Real Cost, Enemy One, Residual Kid, and Witewash have been lovingly restitched into the monster that is Skeleton. Set to drop an absolutely pummeling EP on June 30th via Super Secret Records, the blistering assault marks the end of a sound developed, explored, and promptly conquered.

As they’ve made no secret of their intention to pursue a more metallic, riff-dependent sound informed by stoner, sludge, and the bleakness underpinning the salad days of 90’s black metal, the future is as yet unwritten. Today, though, I’m left to contend with an absolute rager of an EP, lovingly recorded and mastered by Orville Neeley and Seth Gibbs, respectively.

From the scorched Earth policy of the cover art to the opening D-Beat salvo of “War,” Skeleton’s mastery of blown-out hardcore is immediately evident (Side-note: never google “blown-out hardcore”). Fittingly, they’ve name checked Total Abuse as both an influence and peer.

It’d be easy to see Skeleton sitting as comfortably in the stable of Deranged Records as they would in the late ’90s/early oughts Havoc Records lineup, a mélange of cerebral punk fury and hardcore speaker fuzz.

One can’t help but find branches of their family tree leaning into frame, but the breadth of influence across the EP is vast and self-aware enough to incorporate more outsider leanings. Though guitar-based, there’s a cold and unsettling industrial edge, an almost subsonic hum running beneath every track. There’s a hint of The Holy Mountain, long forgotten Crust titans from Florida, on “Dystroy”, a blackened alchemy of pace and furious squealing guitar leads. Third track “Burning Flame” is perhaps the truest distillation of their menace and potential. With an opening riff and DIS-gallop every band with a butt flap/back patch would gladly endorse, there’s a barked “OOH” at the :23 second mark that will awaken horseshoe pits in squats the world over.

The closer, “Killing/Locked Up,” may indeed be our first glimpse into the world they’re intent on building: one where Kyuss, Dystopia, and Bolt Thrower all shop at the same grocery store, which just so happens to be staffed by the grimmest painted of corpses. Though still ferociously backloaded, the finale finds Skeleton seeking space and nuance, a defiantly “other” idea amidst the suffocation of the previous three tracks. Again, the surgical blade of industrial music returns to the canvas. This time, though, as the clock ticks away into silence, they seem to be leading us into the oblivion of whatever bludgeoning awaits on the upcoming LP.

Wherever they’re headed, I’m prepared to follow… blindly and willingly.

Get It

Skeleton Premiere “Dystroy” at Austin Chronicle

Skeleton Dystroys

New EP precedes transformation into… metal

Following a pair of ferocious flexi discs, Skeleton returns with its third self-titled release in as many years: a pummeling, four-song 7-inch that arc welds menacing hardcore punk with D-beat, sludge, and metal influences.

Skeleton: (l-r) David Ziolkowski, Victor Ziolkowski, and Alex Recide (Photo by Daniel Di Domenico)

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The Austin trio, whose medieval imagery signifies a blunt force approach to music, cut the EP with homegrown DIY visionary Orville Bateman Neeley III (OBN IIIsBad Sports) at the controls.

“About eight years ago, a friend took me to see A Giant Dog play at the old Emo’s,” says Skeleton singer/drummer Victor Ziolkowski(PlaxNosferatuEnemy One), who plays alongside his brother, guitarist David Ziolkowski (ArmyResidual Kid), and bassist Alex Recide (NosferatuRecide). “I looked at Orville as being one of the only drummers I enjoyed watching in that whole realm of music. He hit hard and he was so solid. He recorded our first flexi, as well as an Impalers record I like, and I like the sound he got, so it made sense to go back.”

Ziolkowski confirms that after this, Skeleton will make an about-face and become a metal band.

“We want to stair-step into metal,” he says. “We’re already recording an LP that isn’t going to have a punk sound at all.”

Thus, enjoy their bulldozer punk in the short term. Today’s song premiere, “Dystroy,” blasts forth a breakneck beat, roaring vocals, and a prominent two-note, string-bending guitar riff that serves as the song’s hook. Skeleton’s first circular effort (the flexis are square) arrives via Super Secret Records June 30. You can pre-order it here and see Skeleton in action on that same date at Barracuda with WebbbEnemy One, and Filthy.

Razorcake Review of Plax’s Debut Album

PLAX: Clean Feeling: LP

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PLAX

How to capsulate the sound of Plax? They’re a mix of punk, post-punk, and garage. They feature members from OBN IIIs, Spray Paint, and Skeleton, so those influences seep in. You could compare them to Institute, who I do like, but Plax is much better. The songs are largely mid tempo with some jangly guitars, a propulsive bass, and drummer who knows there’s power being economical. “What a Waste” is a killer among killers that takes off right out the gate with the bass up in the mix, pushing the whole affair forward. “Mistake” is somewhat similar, and just as good. I like the confrontational tone of “Location,” but it’s the closer, “Mold,” that has me singing the praises of Plax. It’s a drawn-out song that is heavy in atmosphere. The guitar work is a-f’n number one primo. Great record! –Matt Average (Super Secret, supersecretrecords.com)

Dagger Zine Reviews Plax’s Clean Feeling

Plax- CLEAN FEELING (SUPER SECRET RECORDS)

Coming out on the Super Secret label (Austin, TX) I had a feeling this’d be some gnarly, over the top stuff and it certainly is. Apparently the band is a supergroup of sorts (I hope someone thinks up another word for a supergroup someday…..I’m gonna head down to the lab and work on it myself) and have been together a little over a year.  The solid lineup is Victor from Skeleton and Nosferatu, Michael and Marley from OBN IIIs (Marley is also in Sweet Talk), Chris from Spray Paint and Dikes of Holland and not sure if these four were born in the same hospital at the same time or not but they seem like they’ve been playing together longer than Jagger n’ Richards (Charlie too, can’t leave out Charlie). The songs are what matter here and Clean Feeling is full of the kinda music meant to be played while driving while blindfolded, chasing the cat around the house with the chain saw or driving a golf cart off a cliff. You know you’re gonna get hurt real bad (or worse) so you might as well have fun while doing it. Cut like “Boring Story,” “In a Web,” “Mistake” and “What a Waste” seem to hit that sweet spot right where Solger, the Pagans and the Germs all collide Oh, also vocalist Victor seems like the kinda guy you don’t want to have to deliver any bad news too (and if you do have to make sure you’re inside of a car (and he’s on the outside) so you can put the pedal to the metal and scram before he loses his shit). The name of the band is from the gunk that gets caked on your teeth. Ok, review over, I need a fresh glass of prune juice. I love Plax. www.supersecretrecords.com

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The Fire Note Review Plax’s ‘Clean Feeling’

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PLAX
Clean Feeling
Super Secret Records [2017]

fire-note-headphone-approved

Who: Austin-based quasi-punk band comprised of members of Spray Paint, OBN IIIs, Skeleton and Sweet Talk.

Sound: Clean Feeling may be the best indie-punk album of 2017. Twitchy and heavy in perfect doses.

TFN Final Take: Last year I fell head over heels in love with Austin’s Spray Paint. I started with their 2016 release, Feel the Clamps, and then worked my way through their catalog of no-wave punk. When I saw that PLAX had a former member of Spray Paint, I had to listen. Once song was all it took. I was hooked.

PLAX’s sound is quite dissimilar from Spray Paint. Clean Feeling is spastic and a bit disjointed too, but is a more of a straightforward hardcore/punk sound than Spray Paint. This album is 10 tracks of fast-paced power punk rhythms and unexpected shifts. Singer Victor Ziolkowski’s voice bears a striking similarity to Parquet Courts’ Andrew Savage raspy delivery.

Mix those gruff vocals with the furious punk rock rampage and a pinch of unconventional shifts and arrangements and you have a brilliant and insanely catchy LP that soars and never bores. Nine of the 10 tracks clock in under 2 minutes and 30 seconds with the exception being the last track, “Mold.” “Mold” is 7 minutes of pure heaven. A nasty and fidgety rhythm dappled with snarling and anguished vocals all tied together underlying layer of cool synth. I cannot tell you the number of times I have been blasting this on my iPod and as soon as the track finishes, I play it again.

A few weeks ago I thought the debut of the year was a lock with Dove Lady’s album One. Now I am not too sure. Clean Feeling is about as good as you can get.

PLAX Website
Super Secret Records