#Greg Ackell

[spilladabalia]

Drop Nineteens - Tarantula

[lovejustforaday]

Shoegaze Classics - Delaware

Delaware - Drop Nineteens (1992)

Main Genres - Shoegaze

A decent sampling of: Lo-fi Indie, Noise Pop, Post-Hardcore

Hola folks. After reviewing a couple of the first wave shoegaze records coming out of the original British Isles scene, I think now would be a good time to start looking at what was happening on the other side of the Atlantic Ocean.

I said previously that I would be doing a review of the noteworthy classic shoegaze albums for the first wave. Likewise, these write-ups will include some of my favourite shoegaze records, but I also wanted to include records that others generally love or consider to be landmark records in the scene, regardless of my personal stance.

Today I'll be focusing on one of the earliest and most celebrated names in the 90s American shoegaze scene. Let's talk about Drop Nineteens.

The Band

Drop Nineteens were one of the first American shoegaze bands to drop a record. Originating from Boston, the lineup consisted of vocalist/guitarists Greg Ackell and Paula Kelley, lead guitarist Motohiro Yasue, drummer Chris Roof, and bassist Steve Zimmerman.

If you're savvy to popular indie bands of the time, then it becomes pretty clear that Drop Nineteens sound really does sound more "American-ized", at least as far as the indie scene goes. There are clear influences from bands like The Pixies, The Breeders, and Dinosaur Jr., and their output really bleeds that early 90s Gen X slacker "yeah whatever" sound.

Also fun little tidbit I learned while reading the Wikipedia article of all places: Radiohead and The Cranberries opened for THEM. Hard as it is to imagine now, there was a brief moment in history where Drop Nineteens were a bigger name than two of the 90s biggest bands. Funny how quickly things change, huh?

Drop Nineteens only managed to put out two records before they split, with a pretty brief original run as a band from 1990 to 1995, but their debut LP is one of the only first wave shoegaze records to have come out of the United States that you will find consistently being mentioned online among the many 90s classics, most of which came out of the U.K. and Ireland scene.

It's quite possibly the most canonized 90s American shoegaze record, and I know a lot of diehard fans of the genre in online spaces totally love this record. So what do I think?

The Record

Delaware is a record that mixes the state of suburban boredom and teenage angst with the sound of constant humming guitars into what is one of the most 90s sounding records I think I have ever heard. Drop Nineteens' ethos on this record is simple and straightforward; give me walls of sound to block out everything else. Let me do my thing in noisy, blissful peace. This is 100% slacker shoegaze.

One of the biggest pros of this record for me is Chris Roof's drum work, something that usually goes underappreciated in a genre so blatantly defined by its guitar textures.

Chris definitely has a style of drumming that is derived from the post-hardcore scene, which contrasts with the mostly lowkey, uncomplicated walls of sound that this bands interpretation of the shoegaze formula has to offer. In particular, the drums really start to stand out towards the end of the record on "Angel", "Happening", and "Reberrymember".

But beyond that, If I'm being honest, this one doesn't do it for me as much as it clearly does for others. I do enjoy this record, and it certainly is an easy one to put on and just vibe to. But it's also one of the more, dare I say it, 'nondescript' records of the 90s shoegaze canon.

If you were to ask me what the defining features of Delaware are, compared to a record like, say, Loveless or Nowhere, I would probably just end up spouting off the same few adjectives that I've already used multiple times in this review. It's teenage, it's raw, it's got a slacker sound, it's suburban-esque. There were a lot of records like this in the 90s, though perhaps not nearly as many that blended these ideas with shoegaze guitar immersion.

I don't consider it a per-requisite for a record to break a ton of new ground for it to be an excellent record, or even to be considered a classic in my own personal canon. Instead, maybe it's more just that not a ton of this sticks with me in the songwriting department.

That being said, I wouldn't want to include it in this series on the classics if I didn't have at least some shining moments to offer my praises. So let's talk about the two tracks that I often do revisit regularly on this record. The first track I love is "Kick The Tragedy". This is eight laidback minutes of steady shoegaze hypnosis meditation, like soaring through the air on the worlds slowest kite. It's also a wonderful vignette of 90s adolescence, with a spoken monologue halfway through from Paula that delivers cryptic, stream-of-consciousness angst about having dreams and living in the present versus the future. Something akin to chilling out and talking to your buddies in a skate park in heaven (note: *cough* I've never skated in my life *cough*).

The other track that stands out is the band's cover of Madonna's "Angel". It's a completely transformative track that takes Madonna's bubbly dance pop crush anthem, swaps the genders, strips it of its charming 80s funk and chintzy synth production, and in its place, blaring reverb melancholy and a transcendent interpretation of the original hook on a pyrotechnical lead guitar, revealing a more yearning sadness hidden in the original lyrics. The solos at the end are totally angst-ridden, but wondrously flashy in a way that you don't often see in shoegaze, or really most indie rock in general. A complete upgrade from the original, mad props on this one.

Now let me reiterate again that ultimately, I quite like this record. I like the cut of its jib, and I like the effortless coolness it embodies. That itself is a big part of the reasons why I love shoegaze.

But something lacking here that many other shoegaze records also do for me is creating some of the most vivid imagery, that forces me to whip out ye olde thesuaurus just in order to put it into words that would even begin to do the sonic textures justice. Whereas this record, well it just doesn't inspire my minds eye or my audiovisual imagination nearly as much as records by bands like Slowdive, Flying Saucer Attack, Lush, or MBV.

Nevertheless, respect must be given to this band. Drop Nineteens were one of the first bands to make their own homegrown American shoegaze, and it's thanks to bands like them (and, well, the internet) that today there seems to be just as many shoegaze bands popping up on both sides of the Atlantic. If nothing else, Delaware is a landmark record for how shoegaze was beginning to influence and impact other rock scenes in different parts of the world.

What Came After That?

Drop Nineteens disbanded in the 90s. And like a bunch of other prominent shoegaze bands from the original wave, the band decided to reform after the renewed interest in shoegaze that online music forums and websites like bandcamp helped to revive.

Drop Nineteens' just got the band back together incredibly recently actually, and they have their own upcoming third LP called Hard Light slated to come out in November. There's a single already out on streaming platforms called "Scapa Flow" which is a nice little throwback that could easily pass as the single off of their hypothetical third LP in a parallel dimension that came out in 1996. You should check it out, and I'm planning on checking out the record too.

While you're at it, listen to Delaware. Enough hardcore shoegazers seem to love this band and this record a lot more than I do, so you should take their word for it and give it a fair shot.

7/10

Highlights: "Kick The Tragedy", "Angel"

[reconprate]

Drop Nineteens

Drop Nineteens “Nest” White Dress (single 03-28-2024) Greg Ackell told Pitchfork that this song was originally intended to either open or close the Hard Light LP (11-03-2023), which was the Boston band’s first album in 30 years.  B-side is a cover of “White Dress” from Lana Del Rey’s sixth album, Chemtrails Over the Country Club (03-19-2021).  

[screamingforyears]

IN_A_MINUTE: // AN INDIE EXPRESS… // “A HITCH” is the second single from @drop_nineteensforthcoming LP titled ‘Hard Light’ (11/3 @wharfcatrecords) & it finds the Boston-based quintet of Greg Ackell, Paula Kelley, Steve Zimmerman, Motohiro “Moto” Yasue & Pete Koeplin setting their new course across 5+ mins of churningly bounced AltRock. // @goldenapplesusa are here w/ “WAITING FOR A CLOUD,” the lead single from their forthcoming LP titled ‘Bananasugarfire’ (10/27 @lameorecords) & it finds the Philadelphia-based septet of Melissa Brain, Russell Edling, Mimi Gallagher, Matthew Scheuermann, Matt Schimelfenig, Kian Sorouri & Zack Robbins bringing a zippily strummed slice of power_poppin Indie. // @mapleglider are here w/ “TWO YEARS,” the latest single from their forthcoming LP titled ‘I Get Into Trouble’ (10/13 @pieaterpieater @partisanrecords) & it finds the Melbourne-based artist Tori Zietsch, rounded out here by Tom Iansek & Jim Rindfleish bringing a beautifully skittered, yet warmly lit piece of retro’d IndiePop. // @mountkimbie are here w/ a new standalone single titled “BOXING” (@warprecords) & it finds the London-based duo of Dominic Maker & Kai Campos linking up w/ the indomitable @edgar_the_breathtaker to bring all the minimally blown out & shoe_gazing vibes across 3+ mins of fuzzily hypnotic DreamPop. // “JUST LIVING REALLY” is a new standalone single from @sam.wrangle & it finds the Brisbane-based artist “attempting to remember what it’s like to be sixteen” across 3 ½ breezily dreamed mins of steadily strummed, pluckily bass’d & tenderly cooed JanglePop.

[frgmnthtr]

[the-keeper-of-the-gaze]

Seems to be the abiding spirit of the times currently... 'National Coma' is the sophomore album from Boston shoegazers Drop Nineteens, following on from 1992 release 'Delaware' a year later, released on Hut Records (Caroline in the US). The band was formed of Greg Ackell, Paula Kelley, Motohiro Yasue, Steve Zimmerman and Chris Roof. Paula, Motohiro and Chris left after the release of the first album, being replaced by Megan Gilbert, Pete Koeplin and Justin Crosby. They split up in 1994. #DropNineteens #NationalComa #Shoegaze #Boston #noisepop #HutRecordings #CarolineRecords #Delaware #clearvinyl #Vinyladdict #awesome #GregAckell #PaulaKelley #MotohiroYasue #SteveZimmerman #ChrisRoof #MeganGilbert #PeteKoeplin #JustinCrosby (at Kings Norton, Birmingham, United Kingdom) https://www.instagram.com/p/CA3aZ0wnWS_/?igshid=18vhw3lhg0mfp

[shoegazegeneration]

Moving Holiday (1992 - 1994) [play]

Shoegazers from Czech Republic

Moving Holiday was a Czech shoegazer band founded in fall of 1992 by Tomáš Svašek (guitar, voice), Ondřej Faber (drums) and Honza Dědek (bass). Later came Vojtěch Probošt (bass, guitar). As main influences Svašek pointed out the music of Revolver, Chapterhouse, Ride, Boo Radleys or …xyz album by Moose. More gigs with Nova Mob and czech bands Ecstasy Of Saint Theresa and Sebastians, appearance on TV. Band has tried to send promos to MTV and contact labels in UK. Greg Ackell of Drop Nineteens is in touch with band and offered collaboration at debut release. Band is contacted by BMG. In October they played as support for Slowdive (after seven live gigs) with positive echo in musical reviews. At the end of year band hit 3rd position in journalist‘s survey focused on indie scene. The band split up before the release of their first album.

[josettebohemebleu]

Moving Holiday was a Czech shoegazer band founded in fall of 1992 by Tomáš Svašek (guitar, voice), Ondřej Faber (drums) and Honza Dědek (bass). Later came Vojtěch Probošt (bass, guitar), Dědek took 2nd guitar for a short time and then left the band. As main influences Svašek pointed out the music of Revolver, Chapterhouse, Ride, Boo Radleys or …xyz album by Moose. In February 1993 the band played their first gig together with Tom Is My Sugar and after second show in April they recorded cassete single Lilian/Feel And Find. More gigs with Nova Mob and czech bands Ecstasy Of Saint Theresa and Sebastians, appearance on TV, another change at bass (Cyril Tůma), Probošt took 2nd guitar at live gigs. In September was recorded demo tape Foam/Tears Of Your Hate. Band has tried to send promos to MTV and contact labels in UK. Greg Ackell of Drop Nineteens is in touch with band and offered collaboration at debut release. Band is contacted by BMG. In October they played as support for Slowdive (after seven live gigs) with positive echo in musical reviews. At the end of year band hit 3rd position in journalist‘s survey focused on indie scene. The band split up before the release of their first album.

[cruisersnet]

Greg Allard Reports: Harborage Yacht Club Marina, Stuart, FL

Greg Allard Reports: Harborage Yacht Club Marina, Stuart, FL - https://cruisersnet.net/greg-allard-reports-harborage-yacht-club-marina-stuart-fl/ Cruisers Net is always grateful for Greg Allard’s observations and willingness to share his vast experience with our readers. Be sure to read and view his several  Letters and photo journals from the Bahamas. Harborage Yacht Club Marina is in Martin County, A CRUISERS NET SPONSOR, and a major hub Cruisers Net is always grateful for Greg Allard’s observations and willingness to share his vast experience with our readers. Be sure to read and view his several  Letters and photo journals from the Bahamas. Harborage Yacht Club Marina is in Martin County, A CRUISERS NET SPONSOR, and a major hub of boating activities. Harborage Yacht Club and Marina Stuart, Florida 772-692-4000 https://harborageyachtclub.com In February of 2020 we spent two weeks at the Harborage, which is just northeast of the three bridges in the center of Stuart. In past years we had docked there a couple of times, and had found it to be just ok, but not great. During that period it was a Loggerhead marina and between deferred maintenance and a hurricane, it had suffered. All of that has changed, and I’m pleased to report that the marina has been virtually redone and is now a solid choice for boaters and cruisers. The northerly set of fixed docks are like new, with composite decking and new electrical and water supplies. From what we observed, most transient boats are assigned to the fixed docks, where you are permitted to stay aboard for any length of time. The southern section of the marina consists of floating docks which can also be rented for transient or longer term; staying aboard there is limited to four consecutive days, and nine total days, per month. The southern section is a much further walk to reach the pool and clubhouse area. The marina has a total of 300 slips, 150 are fixed and the rest are floating. One of the issues with this marina, in the past, has been the depth of water in the basins and slips. When we were there almost two months ago, dredging was underway full time. The dockmaster now reports that the dredging has been completed (except for a couple of slips which had boats in them), resulting in 7.5’ depth at MLW in both the slips and the fairways. While some marinas in the area have issues with current, we observed none of any significance here. The shore side facilities are excellent – pool and spa, outdoor fire-pit lounging area, free OnSpot wi-fi, a laundry, Captain’s lounge with TV, new bathrooms and showers, fitness center, boatside (golf-cart) pumpout, poolside bar and grill, and good security. They offer golf-cart rides from your boat to landside. There is an easy-approach fuel dock, with competitive prices and pump out. On site is the TideHouse restaurant, not operated by the marina. We had a very good bar-menu meal on the outside deck, with live music. There is a full dinner menu for inside. Across the street from the marina, in a shopping center, is a casual Italian restaurant, Uncle Giuseppe’s, which is easy to recommend – a comfortable place, reasonably priced, with good Italian dishes and pizza. While the marina facility is now first-rate, this is also now a well-managed marina. The Dock Master, Scott Fletcher, is a true professional, and has his hand on the pulse of the place. The dock staff he has assembled are exceptional and understand customer service. They could just not do enough for you. We had the most contact with excellent dockhands Nick and Jim. The general manger of the facility, Allison Ackell, gave us a warm welcome as we checked in and provided a detailed tour of the facility. The long term dock rates are 17-$18 a foot, per month, with metered electricity. Daily rate is $2.95 a foot, plus flat fee electric. The long term rates makes sense for a stay of more than about two weeks. A full list of rates is on their website, listed above. There is a Sam’s Club, a West Marine and a Publix market a couple of miles north on Federal Highway, along with any other stores you might ever need. Enterprise delivered a rental car to the marina for us. On Saturday mornings, in the neat historic section of Stuart, there is a small but quality farmer’s market. From the GIWW, to enter the marina you leave the main channel at marker 23, (which is northeast of the high, fixed New Roosevelt bridge) and steer for the green buoy which is just outside the entrance to the marina, between the breakwaters; that heading is approximately 310M. From 23 to the green buoy the depth was around seven feet at MLW. If you are uncertain of your track, the dock staff will “talk you in” to the marina on VHF. Is everything perfect? They need to add more dock carts – there always seemed to be a shortage. Additionally, since parking spaces are really tough to find, it would be a welcome service if the marina provided a van type shuttle to Sam’s, West Marine and Publix a few days a week. A couple of people have commented about the noise from the nearby railroad. Yes, there is some noise, but every marina in the area, including the nearby Sunset Bay, is subject to the same thing. The Stuart area is a hub for boaters on the east coast of Florida, and dock space is invariably hard to find. The rebirth of this marina makes for a great new facility in the area. The Harborage Marina is open and running during these difficult times, with a number of boats having arrived from the Keys and from the Bahamas. Greg Allard M/V Meander Click Here To View the VA to NC Cruisers Net Marina Directory Listing For Harborage Yacht Club Marina Click Here To Open A Chart View Window Zoomed To the Location of Harborage Yacht Club Marina -April 18, 2020

[spilladabalia]

Drop Nineteens - Scapa Flow

[twinkandwink]

Drop Ninteens - Fleece & Firkin, Bristol 28th Oct 1992

[reberrymemberer]

Whatever happened to Greg Ackell?

[screamingforyears]

IN_A_MINUTE: // AN INDIE EXPRESS… “BREAKING” is the lead single from @bewilderband’s forthcoming LP titled ‘From The Eyrie’ (10/6 @tinyengines) & it finds the UK-based duo of George Brooks & Thom Wilkinson placating/satiating my EMOtionally nostalgic fix across 4 ½ mins of beautifully textured, aesthetically apt & romantically rollicking IndieRock. @cashier.band are here w/ a new standalone single titled “MIRACLE (WITHOUT U)” (@fleshandbonerecords) & it finds the Lafayette-based quartet of Kylie Gaspard (vox/guitar), Joseph Perillo (guitar), Austyn Wood (bass) & Zach Derouen (drums) letting u know “just the way it is” across 4+ plus mins of crunchy AltRawk. @drop_nineteens are back w/ “SCAPA FLOW,” the lead single from their forthcoming don’t_call_it_a_comeback_comeback LP titled ‘Hard Light’ (11/3 @wharfcatrecords) & it finds the legendary Boston-based quintet of Greg Ackell, Paula Kelley, Steve Zimmerman, Motohiro “Moto” Yasue & Pete Koeplin ending their decades long drought w/ 4 mins of pristinely refurbished, dutifully dreamy & haven’t_lost_a_touch ShoeGaze. “SOMETHING MORE” is the final single in the run-up to @hurryband’s forthcoming LP titled ‘Don’t Look Back’ (8/11 @lameorecords) & it finds the Philly-based quartet of Matt Scottoline (vox/guitar), Rob DeCarolis (drums), Joe DeCarolis (bass) & Justin Fox (lead guitar) jangling their way across another solid ass 4 mins of indie_rawking PowerPop. “SURELY” is the second single from @narasroom’s forthcoming EP titled ‘Topanga Swirl’ (8/17 @candlepin_records) & it finds the Brooklyn-based trio of Nara Avakian (vox/guitar), Ethan Nash (bass) & Brendan Jones (drums) bouncing across a 4:25 clip of savagely strummed, emotively delivered & holistically Hole-esque AltRock.