Uploaded October 2024 | Updated September 2026, 2 weeks ago
Deaf Club "Full As a Tick" from the Productive Disruption LP available here:
threeoneg.com/archive/vinyl/productive-disruption
Directed, filmed, and edited by Stephen Inman
Ironically, Deaf Club’s debut LP was recorded on the same day as what would become known colloquially as The Insurrection – January 6th, 2021. While the actions that day at The Capitol were aimless, unplanned, asinine and delusional, this album was created in direct opposition without even knowing it: it is intentional, tactical, bitterly relevant. In short, it serves as a productive disruption to the bootlicking, copsucking, flag-fucking frenzy we’ve found ourselves surrounded by. And although the band’s 2019 EP, Contemporary Sickness, delivered its own blastbeat-fueled urgency in message and tone, this full-length ventures deeper into the abyss. Having had time to stew in the cesspool of the last two years and mutating into its newest variant, Deaf Club confidently emerged angrier, evolved, more focused and thus, more dangerous. It discovers nastier, weirder, grimier territory, often through its use of pedals and distortion, in large part due to the addition of sci fi shredder Tommy Meehan (The Manx, Sweatband Records co-founder). Alongside Brian Amalfitano (ACxDC), these two guitarists leave no sound untuned. Merge this with Justin Pearson’s (The Locust, Dead Cross, Satanic Planet) always acerbic lyrics alongside drummer Scott Osment (Weak Flesh, Planet B) and bassist Jason Klein (Run With the Hunted), and what you end up with is Productive Disruption: a death threat to some, a love letter to others.
Deaf Club "Full As a Tick" from the Productive Disruption LP available here:
threeoneg.com/archive/vinyl/productive-disruption
Directed, filmed, and edited by Stephen Inman
Ironically, Deaf Club’s debut LP was recorded on the same day as what would become known colloquially as The Insurrection – January 6th, 2021. While the actions that day at The Capitol were aimless, unplanned, asinine and delusional, this album was created in direct opposition without even knowing it: it is intentional, tactical, bitterly relevant. In short, it serves as a productive disruption to the bootlicking, copsucking, flag-fucking frenzy we’ve found ourselves surrounded by. And although the band’s 2019 EP, Contemporary Sickness, delivered its own blastbeat-fueled urgency in message and tone, this full-length ventures deeper into the abyss. Having had time to stew in the cesspool of the last two years and mutating into its newest variant, Deaf Club confidently emerged angrier, evolved, more focused and thus, more dangerous. It discovers nastier, weirder, grimier territory, often through its use of pedals and distortion, in large part due to the addition of sci fi shredder Tommy Meehan (The Manx, Sweatband Records co-founder). Alongside Brian Amalfitano (ACxDC), these two guitarists leave no sound untuned. Merge this with Justin Pearson’s (The Locust, Dead Cross, Satanic Planet) always acerbic lyrics alongside drummer Scott Osment (Weak Flesh, Planet B) and bassist Jason Klein (Run With the Hunted), and what you end up with is Productive Disruption: a death threat to some, a love letter to others.
![Planet B Filthy Suitcase [Official video]](https://i.ytimg.com/vi/JOMlD3wYOz8/mqdefault.jpg "Planet B Filthy Suitcase [Official video]
Planet B Filthy Suitcase from the Fiction Prediction LP available from Three One G here:
https://threeoneg.com/archive/vinyl/fiction-prediction
Directed by Jay Strickland and Luke Henshaw.
Thanks to Leftys Chicago Pizzeria, Heartwork Coffee Bar, Dia Del Cafe, Andy Loy, Extra Graphic, Lucien Greaves, and Becky DiGiglio.
Justin Pearson (Dead Cross, Deaf Club, The Locust), Luke Henshaw (Sonido de la Frontera), Kevin Avery (Field Day, Retox) and Scott Osment (Deaf Club, Glassing) formed Planet B with the shared purpose of creating music subversive in sound and sobering in message. Their music lays somewhere just out of reach of genre, with aesthetics rooted in hip hop, hardcore punk, turntablism, and 70s-80s horror movie scores. It is catchy, heavily percussive, and eerie all at once. The band’s first self-titled LP showcased the band collaborating with artists such asKool Keith, Nick Zinner (Yeah Yeah Yeahs), Martin Atkins (ex-PiL, Killing Joke, Ministry, Pigface), K. Joseph Karam (The Locust), and Sonny Kay (The VSS, Angel Hair). The band has also released splits with electronic punk duo ADULT. and turntablist collective Invisibl Skratch Piklz. The band also formed an offshoot with The Satanic Temple co-founder and spokesperson, Lucien Greaves; this project is called Satanic Planet. Fiction Prediction sees a similar array of collaborators.
Planet B’s second LP has been a long time in the making. Obviously, over this span of time, there has been an almost unimaginable amount of surreality and insanity to pull from when creating the band’s unique hip-hop-punk-meets-sci-fi-horror-movie sonic aesthetic. As always, the sound is as confrontational as it is catchy, the lyrics scathing and the beats bizarre. Earworms abound. As with the band’s first release, there are a host of guest collaborations on the various tracks, from Josie Cotton to David Scott Stone (ex-LCD Soundsystem, Melvins), D-Styles (Invisibl Skratch Piklz), and more. Perhaps most personally meaningful are the instrumental contributions from Gabe Serbian (The Locust) and Eric Livingston (Mamaleek), both family to the band, who have each passed on from this dimension and back to whatever radical planet they came from since the creation of the album.")
![DEAF CLUB Planet Bombing [Official video]](https://i.ytimg.com/vi/LDA1uys00tM/mqdefault.jpg "DEAF CLUB Planet Bombing [Official video]
DEAF CLUB Planet Bombing from the Productive Disruption LP
Purchase here: https://threeoneg.com/archive/vinyl/productive-disruption
Directed By
Eris Deo (@eris.deo)
Director of Photography
Tyler Bradberry (@coolinternetdude)
Edited by
Eris Deo (@erisdeo)
Evan Aretz (@shidd_fardd)
Asst. Editor
Constantine Mickens (@breadflavor)
Set Design
Eris Deo (@ErisDeo)
Art PA
Annabel Young (@omophagic)
Computer Art
Skinner (@theartofskinner)
Special Effects
Eris Deo (@erisdeo)
VFX
Evan Aretz (@shidd_fardd)
Glitch Art
Eris Deo (@erisdeo)
Extra Footage Provided by
Nic Maier (@commadorgilgamesh)")
![End Of The Line Burning Down [Official video]](https://i.ytimg.com/vi/LDAKsyuEsE4/mqdefault.jpg "End Of The Line Burning Down [Official video]
END OF THE LINE Burning Down from the bands self-titled LP available from Three One G.
Purchase here: https://threeoneg.com/archive/vinyl/self-titled-3
Video by Displaced/Replaced.
“Fuckin great. This stuff rages with the kind of crazy, maniacal energy and enthusiasm thats often so hard to capture on vinyl. If I have to come up with a comparison, Id say old-style DC hardcore like... VOID, but less doomy and more dynamic. Imperative.”
—Maximum Rocknroll
End of the Line, the short-lived San Diego hardcore band that was in the right place at the right time. Existing during summer 1991, its membership boasted Matt Anderson, Scott Bartoloni and Aaron Montaigne of seminal 90s band Heroin, who, for the most part, had switched instruments. Further intensifying this lineup was leather-throated vocalist Cory Linstrum. A mutual appreciation of Bl’ast!, Faith, Void and SSD acted as its starting point, leading the band down the left hand path of chaotic punk and hardcore. EOTL played a dozen shows during its brief reign. Its teeth were cut appearing alongside Aspirin Feast, Say No More, Struggle, Undertow, Downcast, Media Children and Blatz (among others), before obtaining an opening slot on a Born Against/Rorschach show. The display of raw pandemonium unleashed that evening saw End of the Line’s buzz spread to the East Coast as these bands returned from tour. Rapidly a bidding war began with EOTL in the middle. Vermiform offered a seven-inch deal, while Ebullition dangled the opportunity of a full length. The band chose the full length. Having previously recorded three tracks, EOTL now had the opportunity to record the rest of its set for posterity. The band was aware it wouldn’t last much longer. Heroin would be releasing its own LP and leaving for tour, while Linstrum would relocate to the Bay Area to front John Henry West. It was during these recording dates that End of the Line concluded with its final appearance, a September 1991 show with Fugazi and Jawbreaker. Without an active band to promote the release, Ebullition’s version of the End of the Line LP wallowed in obscurity, where it slowly became a cult classic of early 90s hardcore. Let End of the Line crush your eardrums like an artillery shell, leaving you in the mud with the rats, lice and dogs!
This record has been remixed and remastered by Tim Green (Nation Of Ulysses/The Fucking Champs) at LOUDER studios. Pressed on limited edition color vinyl with a 3D cover and accompanying individually printed 3D glasses.")
